Marco Bonelli and Marijana Radovic, m2atelier
Already a couple in life, designers Marco Bonelli and Marijana Radovic made the brave decision to go into business together in 2011, joining their respective studios to co-found m2atelier in Milan.
Bonelli’s design career had kicked off with an architecture degree from the University of Genoa, in the city where he was born. Moving to Paris, the Italian collaborated as an industrial product designer for the likes of Philippe Starck, while in Barcelona he developed his architectural experience in urban and residential projects with experience at Ricardo Bofill’s RBTA.
Moving to New York, where he stayed for nine years, Bonelli obtained a master’s degree from Columbia University and worked with artist Gaetano Pesce, with Steven Holl’s studio, and for six years with Michael Gabellini, focusing on fashion retail and high-end residential projects. In 2000, he founded BAM and specialised in bespoke projects for fashion brands from Giorgio Armani and Dolce&Gabbana to Tom Ford and Jil Sander, returning to Italy in 2003 to open an office in Milan.
Radovic grew up in Serbia without exposure to boating or design, but went on to obtain a degree in architecture from the University of Belgrade and a master’s degree in yacht design from the Milan Polytechnic. The designer furthered her experience in yacht design with Lazzarini Pickering in Rome before heading to Geneva and Athens to work for SETE, owned by Greek shipping magnate Spiros Latsis.
In 2006, Radovic founded the Standby studio in Belgrade and Athens as she deepened her research into yachting and interior design, before moving the studio in 2009 to Milan, where she and Bonelli now head m2atelier. After working for over a decade across multiple architectural and design fields including yachting, m2atelier began collaborating with Azimut on the next generation of interior designs for the Italian shipyard’s Grande series of superyachts.
Federico Lantero, Head of Product Design, Azimut
This year, m2atelier’s first collaborations with Azimut have been unveiled on the all-new Grande 30M, hull 30 of the Grande Trideck (38m) and hull 23 of the Grande 36M, with all three superyachts exhibiting at the Cannes Yachting Festival and Monaco Yacht Show. Bonelli, Radovic and Federico Lantero, Azimut’s Head of Product Design, spoke to Yacht Style about the partnership, which also includes the interiors of the flagship Grande 44M debuting in 2026.
Marco, Marijana, having already been a couple, what made you think about combining your studios to work together? It seems a brave decision.
Radovic: It was risky, but we’re still here, so it has worked out fine.
Bonelli: Yeah, you could call it ‘risky business’. However, there was a lot of common ground in our careers. We had both worked internationally and were both exposed to many different types of architecture and design. We enjoy working across different fields within the design world, such as yachting, fashion, retail, industrial design, residential and so on.
Today, we have a team of about 50 people, and we work across many of these different fields, which enriches us. We may not have the same people working on furniture design and yachting interiors, but there’s a lot of collaboration across the company and it works very well.
What were your first yachting designs?
Radovic: When I was at Lazzarini Pickering, the 118 Wallypower was one of the first major projects I was exposed to, so that helped me become open minded when thinking about designing interiors for boats. At m2atelier, we’ve worked on a range of superyachts including 65m and 58m superyachts for Codecasa, a 56m Vitters sailing yacht plus a 63m in build, two 44m motoryachts for Conrad in Poland, Mangusta’s third 165 REV (50m), along with 80m and 89m yachts in build at Feadship.
Hull 30 of Azimut’s Grande Trideck features m2atelier interiors, including a saloon with an ‘unveiling wall’
Federico, why did Azimut seek to work with m2atelier?
Lantero: We thought it was the right time for an evolution. It had been a long time since we refreshed our interior design following a long relationship with Achille Salvagni, for more than 12 years. We were ready for a new design language, so were looking for studios that offered this while being able to retain Azimut’s distinctive DNA.
We were particularly interested in some of m2atelier’s work on mega sailing yachts and residential projects, which led us to discussions. We wanted to talk about how the lifestyle of such clientele has been evolving over the years. It’s evident all around us, in hotels, restaurants, resorts and so on. We wanted our superyacht interiors to reflect this informality, now evident in the way people spend their time onboard their yachts. We started working together about three years ago.
What was the brief you gave m2atelier?
Lantero: We started by discussing an overall language for the Grande line, then we did a timetable of products to be developed. Their first project – the base for defining the new design language – was the Grande Trideck, which is currently the Azimut flagship and has an exterior by Alberto Mancini Yacht Design.
However, they were basically working on three models in parallel. At the same time, they also developed the Grande 36M. Like the Grande Trideck, this was another interpretation of an existing model with an Alberto Mancini exterior but with completely renovated interiors.
The upper-deck skylounge on the new Grande Trideck
The other project was the Grande 30M, which is an all-new model, both from Mancini’s point of view and for m2atelier. It started with a blank sheet for both studios. Mancini drew the lines and the concept, but it was important that there was a strong connection with m2atelier from the start.
It’s worth noting that m2atelier’s work for Azimut is not limited to interiors, as it may have been in the past. Now, the interior designers are also collaborating on layouts, and the design and furnishings of the outdoor social areas.
This is because there needs to be a smooth flow between the indoor and outdoor areas, with a clear definition of how all the areas will be used. This creates continuity and coherence, and I’m very proud to coordinate these connections. We’re really boosting this communication between designers because it’s part of Azimut’s integral design philosophy
Marco, Marijana, what have been the biggest challenges working with Azimut?
Bonelli: It was a huge positive to be approached by Azimut. We were inheriting a superyacht series that was already very much appreciated by owners and the market, so we were already starting in a good place. The challenge was to take it to the next step and focus on the evolution, reflecting the new lifestyle and behaviour of today’s yacht owners.
The studio developed a new layout for the Grande Trideck owner’s stateroom
It was a long process. I was surprised when Federico mentioned it was only three years because I was thinking 12 years! We’ve compressed a lot of work and hours into those three years. At the beginning, we were focused on better understanding the Azimut brand. They have a very defined image and DNA, so we spoke with a lot of people within the company but also with their customers around the world, in the different markets. That was very educational.
Radovic: We learned a lot because before that we specialised in one-off custom boats for clients, so were focused on the vision of one owner. Now, we’re working with an established series of models, so the design must appeal to a broader clientele. Giving a new interior design language to the whole Grande family was very challenging.
How would you describe m2atelier’s interior style for Azimut?
Bonelli: We’re going for what we call ‘barefoot luxury’. We want customers to go onboard and feel at ease. We use a limited range of materials, so we don’t want guests to be overwhelmed by any specific decoration but more notice the overall experience and laid-back atmosphere. We like our details to whisper.
The Grande 30M debuted at Cannes Yachting Festival
Radovic: Common features include a feature wall in each main saloon, such as the Grande Trideck’s ‘unveiling wall’ that opens to reveal the TV. The Grande 30M’s feature wall is a bit see-through to showcase the staircase. We’ve worked a lot to ensure there’s a common design language across the series, but also that each model has its own character, so there are differences between each.
What was it like interpreting interior designs of existing models, like the Grande Trideck and Grande 36M, compared to working on the all-new Grande 30M, where both exterior and interior design studios are working together from the start?
Radovic: It’s easier to work from the beginning than to already have a design in place, but we find an opportunity in every challenge. Even though we were working on existing models with the Trideck and 36M, we managed to improve the layout.
It was as much about architecture, not just décor, so we changed the layout of the master cabin and how it flows, which we’re proud of. We worked on the staircases, offering some more perspectives. We have an architectural background, so everything must have a reason for being there.
Lantero: Exactly. One of the key points of Azimut’s integral design approach means that we’re giving the interior designers the opportunity to express themselves by working on every single layer and element of the design. We’re talking about the architectural framework, the layout, the flow, the furniture and the details, such as the height of every bedhead and sofa backrest.
CGI of Azimut Grande 30M saloon
Integral design is key because we want Azimut to have a substantial, distinctive style that I call the firma de la maison, the signature of the house. It’s our interpretation of style and it must be recognisable. To do this, you need to provide the design teams with all the tools. They need to be able to envision and personalise the architectural framework, otherwise their contribution would be limited. They’re invested from the start and are free to design whatever they consider appropriate.
How do you feel knowing your interiors for the Grande 30M, Grance 36M and Grande Trideck will be at this year’s Cannes Yachting Festival and Monaco Yacht Show?
Bonelli: Pressure!
Radovic: We’re happy to have these three yachts at the shows. We hope the impact will be positive and the message will spread. Lantero: They’re both humble with their answers. Market wise, we’ve already received a very positive appreciation for their product. To give you an idea, we pre-sold eight units of the Grande 30M [as of late July], a yacht that’s a perfect combination of Alberto’s innovative concepts and m2atelier working from the beginning to optimise the spaces and create the special atmosphere they’ve described.
We also sold seven units of the new Grande Trideck with the m2atelier interior. This response from the market already testifies to the new ‘barefoot luxury’ style and language, which is deeply connected to how people live onboard in a more relaxed way today.
What’s next for the Azimut-m2atelier collaboration?
Lantero: We’re looking forward to launching the largest-ever Azimut model, the Grande 44M, in 2026. This will be another yacht designed from scratch by both Alberto Mancini and m2atelier. It’s quite an impressive boat at 44m, full of innovation and has a new way of using the space on four decks, including alfresco dining in the forward part of the upper deck.
CGI of Azimut Grande 44M
It’s imposing in terms of volume but intriguing in the way it creates a new atmosphere because of the way the designers have shaped the spaces, which shapes the guest experience. We’ve already seen the interest from owners when we talk them through the design. We can talk for hours with them, and you can see the interest in their eyes as they visualise new ideas for their yachting experience. It will be another milestone for the brand.
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