The Sea Inside

His sailing yachts are named after the famous piece by pianist Keith Jarrett. My Song is a tune that defined an era, accompanying the evenings of many young people born in the 1950s who would later become protagonists of Italy’s post-war renaissance. The Loro Piana textile company, which Pier Luigi managed with his brother Sergio, stands as a synonym for quality and passion for wool in all its forms. And there’s a natural connection between wool and the sea, much like in distant New Zealand, where sheep outnumber people, or in Australia, from where the finest fibers are sourced. Pier Luigi, «Pigi» to his friends, recalls: «My father was an entrepreneur, and I was born into a bourgeois, privileged family. My mother made us spend June, July, and August in Cavi di Lavagna, so the sea became part of me. By the end of summer, I no longer knew whether I was Ligurian or Piedmontese». Then came the boats, many of them, with which he sailed across the world. Pigi has remained faithful both to the name My Song and to Nauta Design, the studio that has accompanied him through major projects, bound by a friendship that goes back a long way. It began when Nauta Design founder, Mario Pedol, was a partner at the shipyard building the Avventura 703, a small design by Andrea Vallicelli that introduced many «young sailors» to the sea, Pier Luigi owned hull number two. Loro Piana lives the sea with genuine passion, for both the environment and the art of sailing. His crews are like family, and his approach to yachting is that of a true seaman. Each of his yachts embodies his desire for innovation, and his latest My Song is a direct expression of his pursuit of speed.

What makes a sailing yacht beautiful?

First of all, that it is truly a sailing yacht, one that genuinely sails. Then, it’s all about proportion. The yacht is my way of living the sea; it must move under sail even in light winds. In short, it must go, it must be fast. I love spending long hours racing, but I also enjoy extended cruising. I know the whole Mediterranean well, every Greek island.

Is it true that with a yacht you can reach places otherwise inaccessible?

Absolutely. I once spent a month among the Pacific islands, where we never saw another cruising boat, only fishing vessels. Being so isolated gives you a special feeling; you feel a bit like an explorer. The most beautiful place I’ve ever been is Fulaga Atoll in Fiji, where even human relationships have an ancient authenticity. We went to the fishermen’s village to introduce ourselves and ask permission to stay in their waters.

Few people know the world of excellence as you do. What parallels exist between the

worlds of fashion, luxury, and yachting?

Let me explain what I mean by luxury. When my brother Sergio and I managed Loro Piana, for us luxury meant «quality without compromise». In other words, something where cost is never a limit in the pursuit of absolute quality. This idea can be applied to any field. A simple cotton garment, for example, can take a thousand forms depending on whether one chooses organic Californian cotton, Turkish or Egyptian, or lower-grade fibers. True exclusivity lies in this search, in creating something so exceptional and unique that its relationship with price becomes secondary. Every year we purchase 100 kilograms of a very special wool, the result of a competition among New Zealand and Australian producers, known as Record Bale. It’s nothing compared to the 500 million kilograms used annually, yet from that small quantity we produce just forty suits of absolute value. One could hardly imagine anything more exclusive.

And what about yachting?

When it comes to yachting, the word luxury is often confused with expensive. But in the world of boats, high cost is almost inevitable, most of the time it reflects a pursuit of quality and technology. What bothers me, however, is that when you look at interiors today, you often see things lacking any sense of taste, designed by people who have no idea what a seaworthy boat should be like. Some projects have completely lost the spirit of being at sea. A yacht should express certain materials. When I see marble on board, I go mad, it really irritates me. Marble sinks; wood floats. Nowadays, yachts feature stone sculptures and elevators. That’s not for me.

Is there a yacht in history that you consider a reference?

There have been many yachts that can be considered beautiful, timeless references. Perhaps the first one I fell in love with, I was twenty and drove 30 kilometers just to see her, was Benbow (a Dick Carter design for the Recchi family). I’d say she’s the mother of all modern yachts. After her came architects who did extraordinary things. I’ve always admired Bruce Farr, but also icons like Sparkman & Stephens and Germán Frers, who designed incredibly elegant boats. My My Song II, designed by Bruce Farr and launched in 1991, had outstanding waterlines. After Farr, we chose an 83-footer by Reichel/Pugh, which gave us 17 wonderful seasons.

And the current My Song?

It’s a Swan, though not entirely, in spirit. When I decided to build it, I chose Swan because the ClubSwan regatta organization is simply the best there is. The idea was to create a class that reflected the characteristics of the boat I wanted, but it’s difficult for anyone to establish classes for yachts of such size.

Yet you’ve moved on to a motor vessel…

When I lost My Song IV, I bought a motor yacht, and within six months we were able

to refit and relaunch her. Built in the early 2000s already with an explorer concept, we modified her with the goal of circumnavigat ing the globe. She has a range of 5,000 miles and burns just 150 liters per hour, very little for a 51-meter vessel. I named her Masquenada: «better than nothing», but Masquenada is also a famous samba tune by Sérgio Mendes. She’s now in Phuket, as we’re completing the world tour. I’ll spend some time in Madagascar, a place I’ve never seen, then the Seychelles, and finally she’ll return to the Mediterranean.

Every owner leaves a personal mark. What did you want on board?

I wanted a crane concealed beneath the aft deck so that, when the tender is launched, it creates a large beach area astern. I also have a container where I can store two Melges 14s. For my grandchildren, I’ll bring along Optimists and Lasers. There’s also a touch-and-go helipad, for me, the helicopter is a matter of safety, not show. It’s a yacht that’s not exactly for work, but certainly for pleasure.

What are your thoughts on the America’s Cup?

It’s the race of all races, fantastic. It has always fascinated me as a sailor. I went to New Zealand to watch it; in 2000 I was there with friends, and we had a great time. It’s a tremendous opportunity for Italy, especially for Naples, and I’m delighted because I love that stretch of sea. I have dear friends there and starting in 2026 I’ll also be a member of the Circolo del Remo e della Vela. They need to organize hospitality not only for the general public but also for owners with demanding expectations, those who want to be spectators while still enjoying a high level of comfort and service. Managing that in a place already challenged by overtourism will be quite an achievement. If they fail, they’ll miss a major opportunity. There’s even a chance for a second edition in the Gulf, giving Naples a continuity of four to six years.

What is your relationship with technology?

I believe yacht prices are heavily affected by the lack of economies of scale. Turning boats into true series-produced products isn’t easy, they remain expensive objects, out of reach for most people. I like technology, but I make distinctions. I value innovations that make yachts easier to handle, safer, and more sustainable, especially for motor yachts.

You’ve touched on ecology. What’s your view on sustainability?

Let me make a simple observation: when we talk about long-range cruising, we often speak of hybrid yachts, but in the end, they’re still vessels with huge engines. We should show a bit more responsibility in consuming less, perhaps by reducing horsepower on some of those high-speed powerboats. But true sustainability lies in sailing yachts with auxiliary engines, where the motor plays only a minor role in the overall emissions balance. I’ll mention Masquenada again, a 50-meter displacement vessel that consumes 150 liters per hour, about as much as a large RIB