NAVY 9.50
Cabin

The sky turns from orange to violet and the sea reflects it. The black hard-top carries its line of light; beneath it are the turquoise helm seats and sofa, and the black tube runs all the way to the bow, where the chaise longue is waiting.

It is a detail of the second vision at sunset: the 9.50 as it was designed, gloss black, with turquoise upholstery. Under the foredeck are the cabin and the heads. In the evening the lights on board are enough to pick it out from the quay.

From the door you step into the forward cabin: the bed fills the whole point, with turquoise cushions divided into panels and a backrest that runs along the sides. The pale ceiling is lined with strips of warm light; on the left, a small shelf.

You reach it through the sliding door to the left of the dashboard. It is the reason people choose a cabin boat: a door to close, a real bed, air conditioning for August nights at anchor. This is a vision of the fit-out: you will see the final finish of the panels in person, and in the photograph from the yard they are white fibreglass, with the V-berth following the bow.

Open sea, clear sky: the 9.50 runs with its bow to the left and leaves a white wake. Black tubes and hull, the black hard-top poised on its raked pillars and the turquoise of the smooth cushions appearing three times: the bow sunpad, the seats under the roof, the large stern sunpad. Under the stern sunpad, between the two wood-coloured swim platforms, the silver cowling of a Honda BF350.

By day the 9.50 shows its proportions: 9.80 metres overall by 3.20 wide, with the 2.50 by 3.70 metre hard-top floating over the helm and the cockpit. In this vision the upholstery is smooth; in the sunset ones it is diamond-quilted: two finishes of the same idea, and you choose the one for your 9.50 from the samples. From bow to stern you can read the chaise longue, the windscreen, the helm seats with the outdoor galley behind them, the sofa and the sunpad over the engines.

Seen from above, the heads: a black counter veined with white, with the basin carved from the same block and dark taps. Below, black doors with the same veining; behind, the full-width mirror framed by a strip of turquoise light. Cream walls, a line of warm light at the base and, in the foreground, the WC with its black lid.

The heads of the 9.50 is a separate compartment, with its own door: the answer for anyone looking for a RIB with a cabin and a heads, not a cubbyhole squeezed in behind the console. The veined black counter with its carved basin and the line of turquoise light round the mirror are those of this vision. The WC has a black-water holding tank, which at anchor and in harbour settles any argument; the on-board shower draws on a 150-litre fresh-water tank.

First light on the sea: a line of gold on the horizon and the water still blue. The 9.50, seen slightly from above, carries a line of turquoise light along the rim of the hard-top; the cushions, in a lighter turquoise, are diamond-quilted, from the bow sunpad to the stern one; under the stern sunpad you can see the silver cowling of a Honda BF350.

Dawn belongs to those who slept on board. Under the foredeck is the cabin, with the bed and the air conditioning; next to it, the separate heads. In this vision the line of light on the rim of the hard-top is turquoise and the quilted upholstery has a lighter tone: it is a colour variant, not another boat. With 500 litres of fuel and 150 litres of fresh water, setting off at dawn means you can come back whenever you like.

The forward cabin, clean and ready: the V-berth fills the point of the hull with turquoise leatherette cushions and a backrest that follows the sides; in the middle, the white fibreglass well with grey decking striped in turquoise. White walls and ceiling, two portholes high up in the corners.

This is not a vision: it is the cabin of the boat being fitted out, photographed just as it is. The turquoise leatherette V-berth follows the sides right into the point; in the middle, the white fibreglass well carries the same grey decking with turquoise stripes you find on deck. Walls and ceiling are white and glossy, and two portholes let the light in. It is the simplest proof that the 9.50 exists: you will see the rest when you step aboard.

At the helm, with the sliding door drawn back. To the left of the dashboard is the way into the cabin: the gloss black panel has slid into the console, and only its edge and the recessed pull are left in view. Beyond are the steps down, and below you glimpse the turquoise bed. In the middle, the dashboard with the wheel; behind the helm seats, the gloss black unit of the outdoor galley, facing the cockpit.

Seats and galley are a single block: whoever is at the wheel has everything in front, whoever is making lunch works behind, in the shade of the hard-top. Underfoot, the grey decking with turquoise stripes that you find again in the photographs from the yard.

A detail from the same clear day: the bow riding high above the sea with the turquoise chaise longue and sunpad, the black console with its windscreen, the hard-top as slim as a wing on its raked pillars and, beneath it, the turquoise helm seats and sofa. The black of the tubes runs the whole length of the frame.

It is the right crop for reading the forward half: the high line of the tubes, the chaise longue, the console with the windscreen and the slim roof on its raked pillars. At sea the 9.50 is in design category B, the one for boats designed for winds up to and including force 8 and a significant wave height up to and including 4 metres, and it carries up to 15 people.

The side passage towards the bow, up close: the grey teak-effect EVA decking with its turquoise stripes, the shaped steps down into the cockpit, the gloss black hull reflecting the sky. On the gunwale a stainless steel pop-up cleat, next to it the dark tube; at the top, the grab rail.

It is the detail you notice straight away in person: the teak-effect EVA decking, grey, with turquoise stripes in the same shade as the upholstery. It is soft underfoot and non-slip when wet. Solid natural teak, 8 to 12 millimetres thick, remains an option for those who want real wood.

The sky shifts from violet to orange and the 9.50 cuts through the water with its white wake behind. The line of light runs along the hard-top, the quilted turquoise sunpad sits over the engines and, on the tube, you can read the name: NAVY 9.50.

It is the sunset scene in large format: it lets you look closely at what gets lost in the small images. In the cockpit, the single-module helm with the galley behind; along the gunwales, the line of turquoise light; at the bow, the chaise longue in front of the windscreen. Higher up this page, it is the image you travel along from stern to bow, one stop at a time.

It is evening, during the fit-out: from above you look down into the cockpit. The blue lights in the decking and under the gunwales trace the walkways; at the top, the black seat module with its turquoise cushion and the stainless steel grab rail; at the bottom, a dark slatted panel with a flush stainless steel cap and, beside it, a gloss black locker.

It is a work-in-progress photograph, taken close up, but it says something the visions cannot: the lights are already there, and they work. They mark the walkways without dazzling, just enough to move about on board once the sun has gone down.

From above, during the fit-out: the turquoise bow sunpad with its backrest, the gloss black coachroof with the windscreen, the start of the hard-top and the pale side decks running forward.

It is a work-in-progress photograph, taken close up: the sunpad of the chaise longue you see in the visions is already fitted to the boat here. Under that deck are the cabin and the heads; you go down to them through the sliding door to the left of the dashboard.