spirit yachts address

Professional BoatBuilder Magazine

The esprit of spirit yachts.

By Nic Compton , Sep 29, 2023

The sleek 52′ (15.85m) Flight of Ufford, launched in 2007, was campaigned hard and successfully by Spirit Yachts cofounder Sean McMillan. The traditionally styled wood/epoxy sloop has become the yard’s most popular model to date.

T he James Bond movie franchise has never shied from any chance to include a yacht in the narrative and as part of the set. And given the urgent nature of the glamorous secret agent’s business, these have tended to be fast powerboats, starting with the Fairey Huntresses and Huntsmen in  From  Russia With Love  (1963) through to the Glastron GT150 speedboat, which performed a spectacular 120 ‘  (36.6m) leap in  Live and Let Die  (1973), and a clutch of Sunseekers in subsequent films. In 2006, while filming  Casino  Royale , the filmmakers decided to do something a bit different. Alongside their usual high-velocity petrol-fueled fare, they featured a sailing yacht: a 54 ‘  (54 ‘  9 “ /16.7m) sloop with a long counter stern and seemingly acres of flawless varnish, which James Bond (Daniel Craig) and Vesper Lynd (Eva Green) sailed into Venice during a romantic interlude in the film.

Cast in the enviable role was the Spirit 54 designed and built by British boatbuilders Spirit Yachts, located in Ipswich, Suffolk, on the east coast of England. And if that wasn’t enough notoriety for the somewhat obscure custom builder, the producers repeated the trick in the 2021  No Time to Die , this time using a Spirit 46 (46 ‘  6 “ / 14.15m) sailing yacht for James Bond to sail around Jamaica during his “retirement” scenes.

The 54′ (16.7m) Soufrière was built for the 2006 James Bond franchise movie Casino Royale. Her brief appearance in the film making her way up the Grand Canal in Venice added the cachet of an international luxury brand to Spirit’s already sterling reputation as a yacht builder.

The pairing was in many ways a marriage made in heaven. Just as James Bond has come to symbolize the aspirational best of British wit, style, and appetite for adventure, Spirit Yachts offers the best in bespoke sailboats, combining high-performance modern hulls with a classic aesthetic and a price on par with Bond’s generous expense account. The formula has inspired a devoted following and led to a unique line of yachts, steadily increasing in size over the years, from the original 37-footer (11.5m) built in 1993 to its biggest creation so far, the 111 ‘  (33.8m)  Geist , launched in 2020.

Spirit Yachts is celebrating its 30th anniversary in 2023, so it seemed the perfect time to visit its expanded boatyard facility in Ipswich, where Spirit has become an increasingly important part of the regeneration of the disused docks and looks set to play an even bigger role as plans for a company-centered boatbuilding university take shape. The year started with the announcement of a major management reshuffle. Founder and chief designer Sean McMillan (now 72) is in effect taking semiretirement, handing ownership to a consortium of Spirit yacht owners and the day-to-day running of the company to Management Director Karen Underwood and the office’s newest recruit, Production & Design Director Julian Weatherill.

McMillan at the drafting table.

Yet the first person I see when I walk through the office door is McMillan, looking as suave and relaxed as James Bond himself, and bearing a roll of drawings for his latest design. No surprises there. Spirit Yachts has always been inextricably linked with this former-art-student-turned-boat-bum-turned-boatbuilder-turned-company-director. It turns out that he’s staying on as a consultant for the next three years, before fully retiring from the scene. Though it seems to me unlikely that will ever really happen.

“Sean is hanging on to the bits he likes [the designing] and letting go of the bits he doesn’t like [running a busy boatyard],” says Underwood, with a cheerful chuckle. She has worked in the marine industry for the past 25 years (including 15 years at Oyster Marine), and you get the feeling the company is in very safe hands.

She and McMillan are meeting a client at 11 a.m., so after a lengthy chat, newly promoted Marketing Director Helen Porter shows me around the yard. “We’ve had both sheds full of new builds for the past three years, catching up with pent-up demand after COVID,” she says. “We’ve had three 72s, one 68, one 52, and two 30s. We’ve now finally got space to take on some refurbishment projects, one for a couple who has been waiting a couple of years. The 52 in-build over there is Spirit hull number 80—or Sean’s 100th boat, if you include the ones he built before Spirit Yachts.”

A Spirit 72 in the busy yard in Ipswich, Suffolk, England, last June. At the time, the 30-year-old company was building its 80th hull.

It’s all a long way from the cottage in Saxmundham, about 18 miles (29 km) north of Ipswich, where I visited McMillan and his then-business-partner, Mick Newman, in 1994. They had just built their first boat, the Spirit 37, in a disused cowshed at the back of Newman’s house, and I had come to interview them and take photos of the boat for what would turn out to be the first-ever test sail of a Spirit yacht. Not that any of us had the slightest inkling of what was to come.

It all seemed to be a bit of a laugh. Sean had already had his fingers badly burned when his company, McMillan Yachts, had gone bust in the global financial crisis a few years earlier. Those boats were strip-planked gaffers, usually with modern underwater hull shapes and fancy joinery that fairly shouted out, “I am a wooden boat!”

“I was already playing with the visual joke about having a traditional-looking boat which is very modern below the waterline,” McMillan says. Not everyone got the joke, however, and after building a dozen boats, the company ground to a halt.

Back in ’94, he had joined forces with Newman—a former barge sailor—to create something completely different. The original Spirit 37 was inspired by the skerry cruisers of the Baltic, with their improbably tall rigs designed to catch the wind blowing over the tops of the flat islands, and their long, narrow hulls for optimum speed rather than comfort. But the new partners wanted to push the type to its limit by building the boat in super-lightweight materials and with a modern underwater shape—that McMillan joke again.

The first Spirit 37 (11.5m) was built in 1994, inspired by the tall-rigged skerry cruisers but with a modern hullform. She sailed beautifully and spurred multiple orders for boats of the same type and form.

The Beginning of Spirit Yachts

The first Spirit 37 was by any standards an extraordinary boat. With her long overhangs and narrow 7 ‘  (2.1m) beam, she looked superficially like a classic yacht from the 1920s, but underwater her bulb keel and skeg rudder told a more contemporary story. A judicious use of modern materials—including a strip-planked hull sheathed with fiberglass set in WEST System epoxy—meant the boat turned out exceptionally light: just 2 tons (4,000 lbs/1,814 kg), with an impressive 60% ballast/displacement ratio. It had a retro-looking fractional rig with knocked-back mast (curved aft at the top) combined with a modern-looking T-section boom and full-battened mainsail. The double cockpit and modern deck fittings suggested she was a serious racing boat, while the black walnut trim set it all off to dramatic aesthetic effect. Below decks, the boat had only sitting headroom, despite her 37 ‘  length, and the fit-out was stylish but spartan.

The Spirit company logo, a distiller’s retort flask, is set in the deck of the Spirit 52 Oui Fling

The pair named the boat the Spirit 37, not from any spiritual conviction but due to the volume of spirits consumed during her construction—hence the distiller’s retort flask in the logo. They had considered calling her the Hashish 37, but wisely decided against that in the end.

On the water, the boat proved nothing short of spectacular, clocking 11.7 knots on that first trial (a record she would take many years to break) and as light and responsive on the helm as an overgrown dinghy. She was every bit the fun boat McMillan and Newman had intended, but at that time she was a complete anomaly. The Spirit of Tradition class had yet to be created, and there were only a handful of identifiable “modern classics” in existence—mostly big cruising boats from the boards of Bruce King and André Hoek.

“[Back then] we were whistling in the dark,” McMillan later told me. “We had no idea whether there was a ‘retro’ movement or not. We just built the boat we wanted, which was fun and of a size we could relate to. Luckily, it struck a chord.”

The Spirit 46 Reprobate reveals the modern bulb keel and spade rudder that contribute to her remarkable turn of speed as she sails hard on the wind.

The Spirit 37 was one of the standout boats at the Düsseldorf boat show in January 1995 and was quickly snapped up by a German buyer, who sailed her for the next 25 years. The company also received two orders for 33 ‘  (10.1m) versions of the boat that would satisfy size restrictions on European lakes. Since then, Spirit Yachts hasn’t looked back.

The 37 was followed in 1996 by the 46 (14m), complete with carbon fiber mast, teak decks, and a serious turn of speed, reaching 18 knots on plane (though, according to my notes, McMillan claims he once got 26 knots out of a 46). Ten 37s were eventually built, as well as a dozen 46s. McMillan is keen to emphasize that no two Spirit yachts are identical, as they are all custom built, and even the 37 has three slightly different hull shapes, never mind the various interiors and deck layouts.

The year 1996 was a significant milestone in another way: it was the first time the Antigua Classics featured a dedicated class for modern classic yachts, and by a happy coincidence it named that class Spirit of Tradition. The Mediterranean classic-yacht circuit eventually followed suit in 2003. Suddenly it seemed that Spirit Yachts’ eccentric foray into imaginative boat design was not so contrary after all and was in fact on the leading edge of a new and growing movement. The bad boys of British boatbuilding were trendsetters in a glittering new vein of yachting.

Crucial to all this was McMillan’s background in fine art, for while he is just as concerned with performance and seaworthiness as other designers are, it is his willingness to take aesthetic risks that has set him apart in what is an intrinsically conservative industry.

After her role in the Bond film, Soufrière collected real-world silver racing in Ireland and at the Classics Week in Cowes.

“I take the view that yacht design is an art with science applied,” he says. “You have to have an instinctive understanding of how the hull moves through water. I gained that by sailing tens of thousands of miles as a delivery skipper, by leaning over the side of the boat and watching the hull, by getting more curious and studying hydrodynamics, and by going out and doing it. Some of the boats were great, and some not so great, but I learned a lot along the way.”

Despite its growing success, the business remained in the old cowshed behind Newman’s house until 2003, when they had to erect a temporary extension to build a 70-footer (21.3m), which was a full 10 ‘  (3.1m) longer than the shed itself. That was the final straw, and the following year the company moved to bigger premises at the old docks in Ipswich.

The slightly shorter Spirit 52 was spun out of that success, including the flush-decked Spirit of Tradition racing machine Oui Fling.

Bond Effect

If you had to imagine what a James Bond sailing yacht would look like, it would probably be a modern classic with exaggerated hull lines and a generous helping of shiny deck gear. So, it was almost an inevitability that sooner or later Spirit Yachts’ classy finish and understated power would attract the creators of the world’s most famous secret agent—and the 54 ‘   Soufrière  was duly built for the 2006 Bond movie  Casino Royale , complete with a luxurious interior comprising two cabins, en suite heads, and (that rarest thing on a Spirit yacht of that era) full standing headroom. The yacht was shipped to the Bahamas and sailed to Puerto Rico, then shipped to Croatia and sailed to Venice, where she is said to have been the first sailing yacht to go up the Grand Canal in 300 years (albeit under power).

All these efforts yielded just a few minutes of footage in the final film, but it was enough to turn Spirit Yachts, until then mainly a British success story, into an international brand. Following the release of Casino Royale , inquiries at the yard increased fourfold—though more often than not the phone went quiet when a price was mentioned. Not everyone, it seems, has a Bond-caliber budget.

Soufrière  turned out to be exceptionally fast and, under her new real-life owner, won a string of trophies at home in Ireland and at the annual British Classics Week in Cowes. Her success prompted McMillan to build a slightly smaller version for himself. Launched in 2007, his 52 ‘   Flight of Ufford  has proven equally competitive, regularly clocking speeds of up to 16 knots and winning British Classics Week three years running in 2014–16—though since 2017 he has had to take turns at first place with the stripped-down, flush-decked 52-footer  Oui Fling , built for Baron Irvine Laidlaw of Rothiemay. McMillan’s proudest moment on his boat, however, was being invited to join the Queen’s Jubilee Pageant on the Thames in 2012—the only modern yacht to be summoned.

The year 2007 was also a landmark for a more somber reason, as McMillan’s longtime business partner, Mick Newman, died in a plane crash. Sadly, he would never see the full flowering of the company he helped to create.

The 111′ (33.8m) Geist, designed for the owner of a 52 who wanted a larger version, was built mostly of sustainable timber, except for the teak decks.

The 52 went on to become the yard’s most popular boat to date, no doubt helped by McMillan’s enthusiastic campaigning of  Flight of Ufford  on both sides of the Atlantic. It also led to the yard’s biggest and most challenging commission. After the Spirit 52  Happy Forever  hit a rock in the Baltic, she went back to the Spirit yard for repair, and while her owner (a young German shipowner) stopped by to check progress he spotted a design McMillan was working on. He asked him to design a 90 ‘  (27.4m) version, and when that wasn’t quite right, asked that it be drawn out to 100 ‘  (30.5m), then 105 ‘  (32m) and, finally, 111 ‘  (33.8m). While the yacht’s hull grew longer with each design iteration, her freeboard remained unchanged—she just got sleeker and more stunning each time.

The result was  Geist , the Spirit 111, said to be the biggest single-masted wooden boat built in Britain since the J-Class  Shamrock  in the 1930s. Not only that, but the yard claimed it was “one of the most environmentally friendly sailing superyachts ever created.” Built mostly of sustainable timber (except for those endless teak decks), it boasted a 100-kW Torqeedo electric engine served by four banks of lithium-ion batteries that could be recharged by the propeller while under sail.

Belowdecks, the owner specified that he wanted only organic shapes—there should be no straight lines and no sharp corners. It was a challenge that the Spirit workforce (with some help from the design agency Rhoades Young) rose to, creating a cocoon-like interior with rounded bulkheads, curved seating and sideboards, and shell-like beds that seem to hover in space. Storage space is mostly hidden behind panels with sensor-activated doors that open to the touch. It was quite simply, as Underwood puts it, “a floating work of art.”

“Building the hull wasn’t a problem; that’s our bread and butter,” says Yard Supervisor Adrian Gooderham, who has worked at Spirit for more than 20 years. “But building the interior was a challenge, especially as they wanted the veneers to match, even in the sink areas, where it comes down the bulkhead onto the countertop, down the side, then onto the shelf, and down again—all matching. If there was a defect in any part of it, you’d have to find another veneer and start again.”

Most of the internal joinery was farmed out, but Gooderham built the distinctive saloon table—56 curved legs arranged in a circle, with a round glass top that bolted to the top of each leg. “Quite complex,” he admits.

Geist’s curvaceous bulkheads, settees, and house structure were built with flawless veneers, glass surfaces, and the absence of trim that could conceal any gaps.

Building Clean

The company’s commitment to the environment stems from its early days when, McMillan points out, just choosing to build in wood would label you as a crank. He still feels just as strongly about it now.

“You can’t build boats and not be concerned about the environment,” he says. “The implications for the yachting industry are dire, yet 99.9% of companies are banging out petrochemical products with no attempt to deal with end of life. There has to be a point when you stand up and say, ‘This cannot be right.’ We are gradually getting rid of diesel engines and trying to build boats that have minimum impact on the planet.”

Laminating diagonal sipo wood veneers over the Douglas-fir strip planking yields a stiff monocoque hull built mostly of renewable wood.

Over the years, the company has refined its focus. Early on, they stopped using Brazilian mahogany when their supplier couldn’t guarantee it came from a sustainable source. They switched to sipo, a similar timber grown as a commercial crop. More recently, they stopped using teak for decks and tried using the teak-substitute Lignia. When that company went bust amid concerns about the durability of the product, Spirit switched to using Douglas-fir, which has proven a good substitute. Various test panels with the alternative decking material are being continuously monitored, in part thanks to an accelerated-aging test tank on loan from electronics supplier Raymarine.

In 2020, they launched the first all-electric Spirit 44E (13.4m), fitted with an Oceanvolt sail drive powered by lithium-ion batteries that can be recharged by two large solar panels on the afterdeck or, while under sail, by the spinning propeller. Her decks were made of Lignia, and her sails were fabricated with 4T Forte recyclable cloth, courtesy of OneSails, which makes most of Spirit’s sails.  Avvento  was shipped to her owner’s home in British Columbia, Canada, where she cruises in remote areas for weeks at a time with no need for external energy supply. Her owner jokes that he’s more likely to run out of food than run out of electricity. Nearly half of Spirit’s new builds are now fitted with electric engines, though McMillan is quick to acknowledge that, environmentally speaking, they are not the “perfect panacea” due to the use of rare metals in the batteries.

Recently the yard has experimented with replacing teak decking with quarter-sawn Douglas-fir.

Bcomp’s flax fiber is a promising alternative to glass fiber laminate for exterior hull sheathing on Spirit’s 30-footers

More recently, Spirit Yachts has been applying flax cloth in place of fiberglass to sheathe their 30-footers—Bcomp’s ampliTex flax 350-g/m 2 biaxial (+/–45°) 1270mm and ampliTex flax twill 2/2, no twist, 1000mm, 300-g/m 2 —and will apply it to the bigger boats once they are happy with its performance. (See “ Flax  Boats,”  Professional BoatBuilder  No. 197, page 44.)

“We had to be much quicker with the glue when laying up the flax, as it is very absorbent,” says Gooderham. “We had to be precise with the quantities of resin, and we had to post-cure in a tent at 25°C [77°F] during the fairing process.”

The Spirit 44E Avvento was the first Spirit yacht with an electric sail drive powered by lithium-ion batteries. She also sported sails made of recyclable sailcloth.

They are also experimenting with bio-based resin in nonstructural areas and hope to use it more extensively in due course.

And there are many other, smaller ways the company earns its eco-credentials, as Helen Porter explains: “We recently replaced our plastic paint trays with sugar cane trays, and we’ve replaced our paint brushes and rollers with low-carbon-footprint products. We’re using vacuum bags made out of recycled materials. We’ve discovered we can reduce waste timber by 20% by using CNC to cut wood. So, we are constantly chipping away in the background. The goal is always to lower the carbon footprint of a yacht as much as possible.”

She makes the point that in most instances, the more sustainable solution will offer other benefits such as reduced noise, cheaper running costs, or greater self-sufficiency, meaning there is less need to call on expensive marinas. When the benefits are fully explained, she says, nine times out of 10 the client will opt for the more sustainable option.

Once again, the company’s once-unorthodox stance has served them well, and while most of the marine industry is playing catchup on burnishing their environmental credentials, Spirit finds itself in the vanguard of the movement. Underwood estimates that as many as 60% of their customers “have sustainability in their minds. They are living and breathing it already. They have an electric car. They have a ground-source heat-pump system at home. That’s why they come to us.”

Custom cabinetry and accommodations are strategically built-in before the cabin structure is sheathed.

Another sign of the times for Spirit Yachts is a greater emphasis on boat interiors, something designer Tom Smith, who trained partly in Italy, is happy to go along with. “The interior never used to get as much attention as the exterior. Now it’s just as much,” says Smith, who heads a team of four designers at the yard. “Lots of people want their yachts to be as comfortable as their homes. That should be possible, as long as you’re clever. I hate it when people say that yacht design is a compromise. There’s no reason to compromise; you just have to be clever with the design.”

In practical terms, that has meant a shift away from traditional wood paneling toward lighter colors, including white satin painted panels. The company is also collaborating with textiles companies to try out new color palettes including cloths made from recycled bottles.

Spirit Yachts Under Power

In recent years, Spirit has added a few powerboats to their stable of designs—from a couple of retro-styled launches, the P40 (12.2m) and P35 (10.7m), to a more substantial 70 ‘  motoryacht, the P70, designed to cross the North Sea from the U.K. to the Baltic and back at 18 knots. Even here, the company is keen to emphasize the designs’ eco credentials, noting that it can build the boats lighter than their GRP equivalents, which means they require smaller engines and therefore have greater fuel efficiency. It’s a virtuous circle that again benefits the client by saving them money in running costs.

Spirit’s most spectacular powerboat to date had finally completed its trials stage when I visited the company in June 2023. The F35 looks every bit like one of those classic North American speedboats from 100 years ago. Long and narrow, with sensuously shaped varnished topsides and foredeck, it appears the epitome of 1920s elegance. But, like her sailing sisters, the F35 has a secret hiding underwater: foils. Power her up to 14 knots or so and she will free herself from the tedious limitations of wetted surface area and fly largely above the water at up to 30 knots (though 22 knots is her cruising speed).

Spirit Yachts joined forces with BAR Technologies (better known for its  America ’s Cup simulation and design) to create this electric foiler with a range of 100 miles at 22 knots. This is a major step forward in electric boating, and all with a classic aesthetic that you don’t expect to perform so efficiently—that old McMillan joke again.

McMillan is rightfully proud of his new design and, back in the office, shows me a video of the boat in action on Lake Maggiore in Italy. Halfway through, the F35 is joined by a copy of the Crouch-designed  Baby Bootlegger , a curvaceous 1924 American mahogany speedboat that inspired his design. (See Paul Lazarus’s “How Fast Will It Go?” in PBB No. 169, page 62.) The family resemblance is clear—though, as McMillan points out, their performance is quite different. The old boat with its 220-hp (165-kW) combustion engine leaves a vast wake, while the big foiler at speed barely dimples the lake surface.

She’s clearly the future of motorboating—fast, elegant, and clean—especially once safety and ethical concerns around some lithium-ion batteries are resolved or competing alternative fuels become viable.

I’m keen to see the roll of plans McMillan has brought in for scanning—he still works in the early stages with pen and paper before submitting his drawings to CAD for the development and production stages—but it turns out they’re top secret. All he will say is that they are for an “extremely radical” electric foiler, considerably bigger than the F35. Even at 72, he is still clearly excited by this latest project.

An F35, the latest model in Spirit Yacht’s sparse line of powerboats, is an electric-powered fully foiling tribute to the mahogany runabouts of the 1920s.

Spirit Yachts’ Academy and Beyond

McMillan is willing to talk about another project close to his heart: the new Spirit Academy. In the past the company was able to recruit staff from all over the world to work in the yard, but that has become more difficult since Brexit, and like most companies in the boating sector, Spirit has suffered a skills shortage. The solution McMillan decided on is to set up a training center in a disused building right next to the yard. The Spirit Academy will be the first university-standard boatbuilding college in the world, training students to a high skill level so they come out ready to start work using modern tools and materials. The course of study will comprise most aspects of boatbuilding, including design, rigging, and sailmaking. The only thing that won’t be in the curriculum is fiberglass construction, which McMillan is convinced will soon “come to a crashing halt.”

He said he hopes to start restoring the building this autumn, with the first intake of students possible as early as fall of 2025. The plan is to enroll two classes a year of 12 students each for a two-year course, with a total of 48 students when it’s fully up and running.

Meanwhile, Spirit Yachts will continue building its distinctive brand of high-quality wood/composite yachts. Despite recent forays into powerboats, sailing yachts will continue to be their focus, particularly in the 60 ‘ –90 ‘  range (their “sweet spot,” according to Underwood). The new 72-footer is particularly popular right now, with three built in two years—one for charter (with a cabin forward for paid crew), one for racing, and the third for bluewater cruising.

McMillan shows no signs of slowing down, and neither does the company he created in a disused cowshed all those years ago. At last, it seems the world has caught up, and the McMillan joke of delivering modern performance boats with vintage aesthetics is one we can all understand.

About the Author:   Nic Compton is a freelance writer/photographer based in Devon, U.K. He lived on boats in the Mediterranean until the age of 15 and worked as a boatbuilder for many years before swapping his chisel for a pen and his router for a computer. He sails a Rhode Island–built Freedom 33, currently based in Greece.

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Spirit 72DH review: latest modern classic stunner

• Toby Hodges
• November 2, 2023

A multipurpose design, a dual purpose yacht. Toby Hodges sails Spirit Yachts’ latest stunner, the Spirit 72DH and finds a new benchmark in modern classic quality

Product Overview

Price as reviewed:.

Clear the headland three miles south of Guernsey’s St Peter Port and the depth and conditions can change abruptly, as you transition from sailing around tidal banks into the English Channel proper and realise there’s suddenly nothing between you and 2,000 miles of North Atlantic swell. This became quickly apparent as we headed out on a reach, the Spirit 72DH Gwenyfar II in full stride at double figures, and I noted the rapidity with which the waves were building.

These soon became 3-4m ocean rollers, as thick as they were tall but with a goodly period between each crest. The Spirit took it effortlessly, the motion kind enough to become quite addictive. Heeled over at full waterline, her spoon bow cut through the swell and speed remained steady. When we then tacked and had the swell on our quarters she remained well behaved, just more sporty, the lightweight side of her modern spirit of tradition build coming into play.

It was a performance as graceful and intoxicating as her bewitching looks.

While it was the performance and handling which really transformed this yacht in my eyes, it’s no doubt the aesthetic attributes that will put the majority under a Spirit’s spell. A Spirit’s looks have long been their talking point – you don’t twice get to be a Bond yacht based merely on practical merits. The Ipswich yard has since found a sweet spot in this larger size range, in particular this Spirit 72DH design, for which it is currently building its third hull. While it still allows for plenty of flexibility with interiors, having the design and engineering in place creates a known base, a yacht which the yard knows it can reproduce to the highest standards.

The Spirit 72DH is also designed to appeal to a broad spectrum of experience and sailing preferences, with systems and layout options that allow for a paid hand. The deck layout is deliberately uncluttered, while intuitive push-button hydraulics and a tidy winch layout help make it manageable with a small number of crew.

The first example, Spirit of Anima , launched a year ago, is used for Med family cruising and charter and has a bright, modern interior with separate crew cabin. This second is more classic Spirit in style inside and lets the craftsmanship reign. It’s a dual-purpose boat, designed to be competitive with a full race rig and sails, yet be capable of both comfortable local cruising and an Atlantic circuit. And the third is a cross between the two layouts but reportedly with a starkly different interior finish.

The 72DH at full pace, upwind. Photo: Waterline Media/Spirit Yachts

All in the eye

Despite their different visions, the proud owners of both the first two Spirit 72DHs have talked of how their yachts share an inherent ability to relax them when on board.

In fact, as we made our way down to St Peter Port, it quickly became clear the owner of Gwenyfar II is infatuated with his yacht, despite having owned a Spirit before (a Spirit 63DH). He’d already moved the boat out to a neighbouring anchorage that morning, perhaps because we may have struggled with the depth over the marina sill. But maybe, I wondered, because first impressions and the ability to see a yacht’s lines really count, particularly when the sheer – the line it all started with for this owner – is so important.

I have rarely met someone so passionate about his yacht. We sat together in the whisky drinking armchairs in the saloon, as he pointed out the details and features, the fixtures and finishes, even the movement, smell and noise which brings this timber creation to life. It appeals to all the senses.

In particular, he wanted the finish to be kept minimal to expose and highlight the woodwork artistry. The hull’s sipo ringframes and yellow cedar planking are displayed wherever possible. So this yacht is very much in line with the original Spirit ethos, with an oyster white hull, gleaming mahogany brightwork and this uncluttered architectural interior. Or is it? While the majority of Spirit owners have raced as well as cruised over the yard’s past 30 years, Gwenyfar II ’s owner wanted to turn the dial up on the yacht’s competitive ability.

Under spinnaker the Spirit 72DH proved engaging to sail at a variety of angles and sea conditions. Photo: Waterline Media/Spirit Yachts

Five years ago his Spirit 63DH stole the show at its Southampton debut, a yawl which was commissioned purely for cruising. Having owned a handful of thoroughbred cruising yachts until that point, he the got the taste for racing. The first Gwenyfar (meaning ‘white spirit’ in Welsh) was not set up for that nor easily modified, so a longer, comparatively lighter and faster Spirit beckoned.

‘ GII ’, as she became affectionately dubbed, needed to be a dual purpose boat. “She is built around the capacity to race, look good and go fast, and then transform to cruising,” the owner explains.

The rig is pivotal to achieving this. The high modulus carbon Hall Spars mast is super clean, with just one VHF antenna and the mast wand permitted, and sports a Park Avenue boom and EC Six carbon rigging. And then there are the sails – stacks of them – all built by OneSails. She carries a set of white heavy duty radial cut HydraNet sails for cruising (which we sailed with) or a full wardrobe of black 4T Forte composite race sails. In the words of skipper Simon Hughes, “we were allowed to go to town with the rig and sails”.

A carbon spinnaker pole helps allow for a range of symmetric spinnakers, plus there’s a remotely controlled high speed padeye for a Code 0. A removable inner forestay rigs to a padeye on the forward watertight bulkhead, and provides the option for a soft hanked staysail to help reduce the sailplan centrally in the most efficient manner. “The staysail makes a big difference,” says the owner, adding: “We had a storm jib up for 10 days on our return trip across the north Atlantic on GI.” Another neat feature is the extra track which extends into the mainsail track to allow a storm trysail to be rigged.

Hughes helped skipper the previous 63DH, particularly on long passages, and was instrumental in the commission of the Spirit 72DH with regards to the rig, systems and electronics. He also helped put together a friendly race crew, some of whom joined us for our sail.

Signature styling: low, curved deckhouse with integrated fan windows on top helps provide light and space inside. Douglas fir decks and gleaming brightwork make for an elegant deck. Photo: Waterline Media/Spirit Yachts

With full main set and genoa unfurled in 15-19 knots north-westerly we set out at pace in the flat water between Guernsey and Herm. Reaching off to the south we were soon into that impressive ocean swell, making 9.5-10 knots at 110º to the apparent wind, with waves heading across our starboard bows.

Pleasure sailing the Spirit 72DH

There were nine of us in the cockpit and I wondered why so many were aboard. But it was during that first leg as we hit open water and I caught their collective expressions of unmasked joy that it dawned on me – they were coming out for the sheer pleasure of sailing this yacht (granted, it also gave us the option of flying a spinnaker).

This deep cockpit provides security. The Spirit has the length and shape to handle those conditions with ease and carries her way through the waves, putting you at ease. I imagine it would have felt distinctly different out there on a smaller, flightier yacht with modern full bow sections.

While the Spirit 72DH’s cockpit benches are really wide and may be better suited for sun lounging than sitting comfortably, the vertical coamings allow you to sit up high and from here or the helm there is good visibility forward over the low deckhouse.

To be as rewarding to sail in both directions is rare. Photo: Waterline Media/Spirit Yachts

As we tacked to reach off back towards Sark, I appreciated the ability to control the main easily from the wheel. The speedo, which had varied between 8.5-9.5 knots depending on the tide when fetching, rose to double figures when broad reaching and hit 11.5 knots with wave assistance.

The Spirit 72DH boasts good balance and communication. While I’ve enjoyed sailing many Spirits on the breeze, it’s rare to find a design that’s as rewarding to sail in both directions. The large mahogany wheel, sunken into a well in the cockpit sole, is directly linked to the carbon blade and stock via chain and wire. I preferred to sit to windward at heel, straddling the wheel with a foot braced on the pedestal, as it’s a bit of a stretch to see the telltales from within the cockpit to leeward.

The aft winches are dedicated to the mainsheet, the central winches for the spinnaker and the forward ones for the jib or guys, with the latter kept manual to avoid over tensioning. The hydraulic Cunningham, vang, backstay and outhaul are all controlled on a pushbutton panel by the mainsheet trimmer/winch or on a remote control. A hydraulic cylinder under the cockpit bench moves the traveller, and the helmsman can easily reach the controls for this and the mainsheet winch. The central winches also have foot switches so the kite trimmer can stand and trim. Halyards, meanwhile, all exit at the mast base on to two powered winches each side on GII, including a high speed three-speed model.

We plugged in the masthead spinnaker in the Little Russel channel and squared the pole back so the big white kite could pull us along at graceful 9 knots (up to 11 knots SOG) in 16 knots, running at 160°apparent. It felt like a timeless classic yacht scene, yet it was also clear to see how such a sail could be handy when racing in these notoriously tidal waters, as it allows you to run so much deeper. But it does need many hands to get it up and down!

The wheel is crafted from sipo, as is the binnacle, which has instruments flush mounted. Note the traveller track and mainsheet controls each side, plus the displays set into the deckhouse windows. Photo: Waterline Media/Spirit Yachts

We dropped the kite through the companionway as it started to get lumpy in the larger swell, with Hughes proving an expert influence, calmly directing proceedings.

Decks are kept particularly clean with the aid of removable padeyes. In its continued search for a teak replacement, Spirit has tried Lignia decks and is currently using Douglas fir, traditionally favoured for its straight grain, which looked like a commendable alternative on GII.

The guardrails are also removable for classic style racing. Handrails had yet to be fitted on the coachroof but were due to be added before the Southampton Boat Show debut. Even so, the side decks are narrow by the deckhouse and have a camber to them which makes it a little unnerving moving forward.

A retractable bow thruster is offset to port and uses a neat 48V pancake motor Lewmar adapted to fit the boat’s sail locker. The starboard side of this locker is large enough for the trysail, staysail and spinnaker. Meanwhile, two lazarette lockers under the aft decks form the bulk of the deck stowage. There’s enough space for a couple of spinnakers on one side and a F-Rib tender to the other, while both feature useful outboard trays for spare lines.

Huge, deeply fiddled central work surface of the galley forms a social heart. Photo: Waterline Media/Spirit Yachts

Tranquil experience

The fun of sailing this yacht is arguably matched by the pleasure of just being aboard. Whether gathering for drinks in the cockpit, socialising around the galley or soaking up the peace in the saloon, it is a boat you are happy to linger on. ‘Tranquil and simple’ was the brief for the interior. Gwenyfar II is designed to be at anchor in this part of the world. The owner has no interest in Med sailing – he might do a Baltic and Caribbean season, but otherwise it’s for local cruising and racing.

Other than the aesthetics, it’s the layout, particularly in the deckhouse, and the attention to detail that stand out. Typically a deckhouse may accommodate a pilot berth or raised navstation. Here it forms the social heart of the boat, a galley area around which people can congregate as they would in a modern home, and still provides a proper chart table with views.

The signature fan windows built into the deckhouse pour natural light over the galley, the traditional butterfly deck hatch does the same for the saloon, adding ventilation at anchor too. And the lighting, including indirect and subtle uplighting, helps celebrate the planking.

Obviously there are compensations that need to be made with a classic shape with long overhangs. So they haven’t tried to pack in the accommodation; instead, the three cabins are inviting and well appointed. The question for prospective owners concerns how much they want to sail with a paid hand and whether to accommodate them in these cabins or in a separate crew cabin and thereby lose some valuable deck stowage.

A practical chart table to starboard. Photo: Waterline Media/Spirit Yachts

The overhangs also restrict mechanical space. So the engine is contained under the galley unit as its shaft exits the hull in front of the companionway steps. This helps centralise weight, while the layout around this engine bay and the tanks each side of it has been done intelligently. A day tank gravity feeds the engine, while the fuel filter and manifolds are easy to access quickly.

Smart details are numerous, while behind the scenes and in the bilges everything is sealed and finished properly, down to wooden trays below the fuel filters to prevent any diesel drips fouling the locker. A surprising niggle then is the lack of soft closing mechanisms on drawers and lockers.

The items that can be removed, such as crockery and cutlery, have all been designed to lift out easily in one unit. When racing, the companionway doors fold away flush, the galley taps are removable and the whole area is protected by custom covers, allowing the crew to pull spinnakers down through the companionway without fear of damaging the woodwork.

GII has the larger galley option. To stand looking out at a horizon view through the deckhouse windows while making a brew or preparing food is special. Watch our full video to see all the details and features such as the customised knife drawer, the marinised Miele induction cooker and a bespoke tea tray for kettle and mugs which fits neatly into a locker.

Directors’ chairs can join the saloon table to help seat 10, with stowage for them in a locker below the bulkhead cabinet. The two comfortable leather armchairs, separated by a lift-top cabinet for the single malts, are the choice place to sit and admire the structures. Spirit used carbon fibre to help support the highly loaded areas, which helped shave 1,200kg in stainless steel around the ringframes.

The spectacular forward master. Photo: Waterline Media/Spirit Yachts

Another two reading chairs in the forward master cabin offer privacy, and there is also a writing desk with fold out mirror to help it double as a vanity table. The owner points out the marquetry and neat pen stowage built within: “I didn’t ask for it but Spirit takes it upon themselves to go the extra mile.”

At 6ft 3in he has full standing headroom up to a double berth, which can be separated by lee cloths when cohabiting with other crew. Otherwise furniture was deliberately kept to a minimum. No full wardrobes for example, just half height lockers and deep drawers. The ensuite is a good size, with rainfall shower, low wattage towel rail, and a bevel-edged mirror neatly set into the front face of the locker.

The excellent navstation has good visibility of the sails and a nice mix of modern and traditional systems. There is touchscreen control for the C-Zone digital switching plus a manual switch panel for primary systems. GII also has a full B&G H5000 racing system, the 12in Zeus touchscreen for which can double as the house computer.

Power management is based around Victron’s Quatro smart inverter charger, which specialises in distributing power when and where needed, says Hughes, in this case from the 1,000Ah lithium battery bank (below the forward saloon berth). It also helped enable the choice of a more compact genset below the companionway.

The identical aft cabins both have generous ensuites with separate showers. Photo: Waterline Media/Spirit Yachts

GII’s traditional fossil fuel based system seems noticeably at odds with Spirit’s recent launches and drive for renewable power. The yard has recently produced a foiling electric motorboat, the extraordinary 111 Geist with electric drive, and a 65 and 68 with hybrid drives.

“We probably wouldn’t even do a 44 or 52 now with a diesel drive,” says marketing director Helen Porter. However, those doing ocean cruising still tend to choose more traditional power systems.

The ‘row away factor’ of the Spirit 72DH is significant. Photo: Waterline Media/Spirit Yachts

Spiritual world

The Spirit 72DH is the definitive modern classic. It has gorgeous traditional lines mixed with modern materials and appendages to make it relevant, fun and practical today, and crucially the layout and systems to make it repeatable. GII is also used just as the classic gentleman’s cruiser once was, when owners raced with friends or crew who valued the experience of sailing such a yacht, then cruised with family or friends.

The true spirit of this Spirit design is all about how it affects you personally. For me the 72DH shone from behind the wheel at sea. From past experience a Spirit revels in flat water, but going through, across and with an Atlantic swell showed this yacht has special qualities. For Gwenyfar II ’s owner it’s all about how it made him feel.

That’s what the beauty of wood and Spirit’s master craftsmen and women bring: lines you’ll never tire of, joinery that calms you and that added quality that gives the yacht a soul.

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Full-Electric Spirit 30 Is Designed for Coastal Cruising and Regatta Racing

Designed as a simple yet elegant day sailor, the Spirit 30 is a new addition to the Spirit Yachts portfolio .  Sporting a 1930s -inspired, modern classic design and uncluttered decks, she is aesthetically beautiful and simple to sail.  The ideal yacht for coastal cruising on a sunny day with family and friends, the Spirit 30 is also set up for single or short-handed sailing. 

The first full-electric Spirit 30 was constructed from responsibly sourced, FSC*-certified Sapele ring frames and Douglas fir planking.  The hull was then made water-tight using flax material, which was laid on the timber and sealed using PRO-SET bio-resin.

At 9.15m long with a light displacement of 1.7 tonnes, the Spirit 30 has options for a fixed or lifting keel and rudder.  The yacht can also easily be transported on a road trailer adding to the versatility of this simple yet classically beautiful design.

The fully electric Spirit 30 has a Torqeedo Cruise 4.0 FP electric drive system powered by lithium-ion batteries and a Torqeedo 650W battery charger, giving a range of circa 16nm at 5 knots.  The increased range can be gained with optional additional battery capacity if preferred. The batteries are recharged by shore power or via solar panels that mount over the cockpit cover.

Spirit Yachts Managing Director and Head of Production Mike Taylor added, “ Not only is the Spirit 30 much-admired and a joy to sail, but she is also the most sustainable Spirit yacht to date.  After several tests, we used flax fabric and bio-resin on the non-structural elements of the hull, which have been very successful.  The electric drive system is easy to operate and delivers simple, near-silent maneuvering. ”

Mike Taylor added, “ We are continuing our drive to lower the carbon footprint of all our yachts and as such the hull materials and the electric drive system on the Spirit 30 are now standard options for all Spirits. ”

With her uncluttered decks and all sail controls led aft, the Spirit 30 is set up for single or short-handed sailing.  Her light displacement, modern hull design, and performance rig and sails deliver speed on the water for competitive regatta racing.   During commissioning in a wind speed of 18-20knots, Spirit Yachts recorded an upwind sailing speed of 6.8knots and 10knots off the wind.

Sean McMillan added, “ Due to high levels of positive interest, there are now two iterations of the Spirit 30 design.  The first version is the recently launched classic day sailor version, with a large cockpit and no interior living space.  This original design has been progressed into a second version, which incorporates a small ‘cuddy’ berth and simple amenities for a weekend on the water. ”

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SpiritBARTech35EF launches with acclaim

Spiritbartech35ef: the electric flyer ushering in a new era of yachting with range of 100nm.

• The new SpiritBARTech35EF is breaking the boundaries of luxury yachting with its range of 100nm between electrical charges
• The market demand for sustainable leisure vessels is driving a new era of green yachting

Portsmouth, 23 rd May, 2023 — The SpiritBARTech35EF, the product of Spirit Yachts’ partnership with BAR Technologies and its America’s Cup simulation and design expertise, is set to become the first fully electric yacht capable of delivering a range of 100 nautical miles between charges.

Where previously, the average electric yacht of around 40ft has possessed a range between 25 to 70 miles at 5 knots (or more, dependent on battery pack options), the new SpiritBARTech35EF blows this out of the water with its 100-mile range at a cruising speed of 22 knots once it is flying.

This comes at a time when the demand for leisure vessels, that are both thrilling and yet have a more responsible footprint, is constantly rising in step with the developments in battery technology and electric drivetrain practicality. Combining Spirit Yachts’ world-leading design and build of luxury yachts with BAR Technologies’ holistically designed green vessel platforms, the SpiritBARTech35EF blends heritage with modernity to usher yachting into a new era.

The power consumption of new vessels is reducing significantly as the industry benefits from the pioneering advances in foiling technology from the America’s Cup. In the case of this new product, Spirit Yachts collaborated with BAR Technologies to implement its foiling technology that minimises contact between the hull and the water, delivering a vessel of optimal comfort and efficiency. The result is a boat that quietly rises from the water and flies over the surface at a top speed of 30 knots.

Above the water line, the sleek visual appearance of the yacht is in keeping with the beautiful traditional aesthetic courtesy of the distinctive design and craftsmanship by Spirit Yachts. Once aboard, users of the electric flyer have the flexibility to quickly convert its 6 seats in open cockpit configuration to a 2-seater spider configuration if thrill and speed is what they are after.

John Cooper, CEO, BAR Technologies, said: “It is a proud moment for us to partner with Spirit Yachts and bring this beautiful boat to market, presenting the capabilities of BAR Technologies’ maritime innovation to the yachting world. We firmly believe that the future of this sector will be defined by developments in the sustainability and efficiency of vessels. In particular, we recognise that there are new hull forms that can be designed to achieve this and we want to be at the forefront of this development.”

“The electric flyer will be the first of a series of boats we design to break new ground as we move into a greener generation of leisure yachts. The SpiritBARTech35EF is a boat of pure elegance that cannot help but attract interest,” continues John Cooper. “Prospective owners should note that this luxury leisure vessel is a limited edition so they will need to move swiftly to avoid missing out. Personalisation is available too.” 

Karen Underwood at Spirit Yachts added: “Our collaboration with BAR Technologies is the epitome of the modern classic ethos on which Spirit Yachts was founded.  Beautiful, clean, classic lines and sustainable timber construction married with forward-thinking technology from BAR with no compromise on comfort and efficiency. The 35EF is an exciting new opportunity for anyone looking for a stand-out, performance yacht with serious style.”

[email protected] +44 23 9206 4878 LinkedIn The Camber, East Street, Portsmouth, Hampshire, PO1 2JJ

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Restaurant-Yacht Chaika

Ratings and reviews, location and contact.

Pleasantly surprised, service is good so is the food. Great selection of Fusion food, a mixture of Italian, Japanese, European, Asian etc. A pleasantly nice dining experience, highly recommended, a must try!

Thank you for your feedback and invite you to have lunch or dinner again aboard the ship in an atmosphere of high standards of yacht hospitality.

everything was perfect - the food, the service, the desserts were the best, nice atmosphere and the location - magical

Best food, best view in Moscow. absolutely faultless from arrival to finish. Best risotto i had for many years absolutely perfectly cooked. The view on Ukrainian hotel and the white house by night is amazing

Had to wait for the food for 1.5 hours and then another 20 minutes for the check. Finally called for the manager and he offered... a 10% discount as a compensation. Simply pathetic! The food is mediocre at best. Not bad per se, but one... would expect something better considering the prices. There are many places to eat in area that are much better. Avoid this one at all costs. More

Hello, Alexander Your comment is extremely important for us, thank you a lot for it. We are terribly sorry for your time that you`ve spent waiting your order and we have already taken actions to improve quality of our service and it would be realy... More

Food is very expensive,very pretentious, doesn't worth that money. Portions are very small. We ordered ravioli and there were 4! Four raviolis! For almost 15 euros. Then we asked to bring us dessert menu but nothing, they didn't even bothered, so we payed and left... without dessert. Very poor service for that price. More

This is a very good restaurant. The food is really good, maybe the best in Moscow. The service is also good. The view from the restaurant is great. The prices are very high.

I often visit this restaurant and must say it’s one of the best in Moscow in terms of quality and service. Staff really try hard to make sure that you are happy and satisfied. Customer service is a huge problem in Moscow but Chaika sets... a great example for others in the industry! Food is delicious and the menu has lots of options for everyone! Atmosphere is great and view is beautiful on the embankment. Special thanks to German & Oleg! More

Thank you for your feedback! Again aboard the yacht restaurant "Chaika" in accordance with the high standards of yacht hospitality.

Highly recommended, great location in the city center of Moscow with a superb atmosphere. Too many menu choices, though all delicious!

Thx a lot for your review! We are looking forward to see you in our restaurants.

Visited this lovely restaurant with a friend of mine. It was relaxingly warm August evening - so the place on the river seemed like a good idea. We came quite early and the restaurant was not full. The hostesses kindly offered several places to sit... and we chose to sit on the sofas. We had some wine, which was good. We struggled a bit when deciding about the food as few options (scallops) were not available. Fish on ice on display did not look very fresh. To be honest it was an unusually hot August and it is probably understandable that some see food options were not available. However, we did manage to order something and sat waiting and looking onto the river. My long-legged friend struggled sitting at the low sofa and the manager noticed that, offering as a very good, proper table beside the open window. It was nice touch and I was very pleased by their polite observations and immediate reaction to solve the problem. Food was quite good and presentation was perfect. Perhaps I can something about the food, but 1 visit is not enough to criticize or make a definitive opinion. Overall, quality place, which of course, does not come cheap. I would recommend this restaurant without hesitation. More

Good afternoon! Thank you for your detailed feedback! We are looking forward to seeing you again, we are sure that you will be delighted with our dishes!

I've been here several times during two business trip in Moscow. The overall quality for both service and food is absolutely top-notch, plus the location is very unique.

Hello! Thank you for your feedback! We are looking forward to visiting again!

Located on a boat at Krasnopresenskaya River Bank this 5 Star Restaurant transforms into a party location due to multiple groups hosting events. Impressive wine selection, Asian and European kitchen...

Thx a lot! We are waiting for you!

It is a nice place to gather specially at the lounge The service and staff very good I like the river view The food is almost like all restaurants in Russia they serve different cuisine. Staring Russian appetizer till Asian dishes Presentation and taste amazing... I consider it overpriced little bit More

Good location. Nice views. Good choice of food and drinks. European and Asian menu. Nice service. Pricey enough.

Had a large group dinner here. Food was above average and service quite good. The real attraction is the view of Moscow from the river on a nice night. Great place for a larger group dinner. More

Hello, John We are really pleased by reading that you and your friends were satisfied by our service, client`s experience is the highest value for us. We will be happy to see you again, come and enjoy some new dishes from our chef and nice... More

The luxurious atmosphere of this place, the view and the location make it quite outstanding. We had dinner here with friends and the dishes were amazing, accompanied by a chilled bottle of Chablis, it really made me feel as if it was a part of... the classic Russian movie. More

RESTAURANT-YACHT CHAIKA, Moscow - Presnensky - Restaurant Reviews, Photos & Phone Number - Tripadvisor

• Service: 4.5
• Atmosphere: 4.5

Three decades after the Soviet era, this Moscow street echoes what was.

And hints where russia is heading., welcome to tverskaya street.

MOSCOW — Thirty years ago, the Soviet Union ceased to be. The flag was lowered for the last time on Dec. 25, 1991. That moment still raises deep questions for the U.S.S.R.’s heirs: “Who were we as Soviets, and where are we going as Russians?”

Many of the answers can be found on Moscow’s main thoroughfare — named Gorky Street, after writer Maxim Gorky, from 1932 to 1990, and renamed Tverskaya Street, a nod to the ancient city of Tver, as the Soviet Union was awash in last-gasp reforms.

It was the Soviet Union’s display window on the bright future that Kremlin-run communism was supposed to bring. It was where the KGB dined, the rich spent their rubles, Vladimir Lenin gave speeches from a balcony, and authorities wielded their power against one of the most famous Soviet dissidents, Alexander Solzhenitsyn.

In the 1990s, Tverskaya embodied the fast-money excesses of the post-Soviet free-for-all. In later years, it was packed with hopeful pro-democracy marchers. And now , under President Vladimir Putin, it is a symbol of his dreams of reviving Russia as a great power, reliving past glories and crushing any opposition to his rule.

Join a tour of Moscow’s famed Tverskaya Street.

Hotel National: Where the Soviet government began

The window in Room 107 at the Hotel National faces Red Square and the Kremlin. It offers a perfect view of Lenin’s tomb — fitting, since he was Room 107’s most famous guest.

The Kremlin was damaged during the Russian Revolution in 1917. So Lenin and his wife moved into Room 107 for seven days in March 1918, making the hotel the first home of the Soviet government.

The Hotel National in Moscow, from top: Artwork in the Socialist Realist style — which artists were ordered to adopt in the 1930s — still adorns the hotel; Elena Pozolotina has worked at the hotel since 1995; the hotel, which contains a restaurant, was built in 1902; the National has hosted notable guests, including Soviet leader Vladimir Lenin, then-Sen. Barack Obama (D-Ill.) and actor Jack Nicholson. (Photos by Arthur Bondar for The Washington Post)

The National, built in 1902 during the era of Imperial Russia, also accommodated other Soviet leaders, including Leon Trotsky and Felix Dzerzhinsky, chief of the secret police. The building continued to be used by the Soviet government as a hostel for official party delegates and was renamed First House of Soviets in 1919.

Guests can now stay in the same room Lenin did for about $1,300 a night. In more recent years, the hotel has hosted notable guests including Barack Obama (when he was a senator) and actor Jack Nicholson.

“This hotel feels a little like a museum,” said Elena Pozolotina, who has worked at the National since 1995.

“We have rooms that look onto Tverskaya Street, and we always explain to guests that this is the main street of our city,” Pozolotina said. “This corner of Tverskaya that we occupy, it’s priceless.”

Stalin’s plan: ‘The building is moving’

When Soviet leader Joseph Stalin demanded a massive redevelopment of Moscow in 1935, an order came to transform modest Gorky Street into a wide, awe-inspiring boulevard.

Engineer Emmanuel Gendel had the job of moving massive buildings to make way for others. Churches and monasteries were blown up, replaced by newspaper offices and a huge cinema.

The Moscow Central Eye Hospital was sheared from its foundation, rotated 97 degrees, jacked up, hitched on rails and pushed back 20 yards — with surgeons operating all the while, or so official media reported at the time.

Gendel’s daughter, then about 8, proudly stood at a microphone, announcing: “Attention, attention, the building is moving.” Tatiana Yastrzhembskaya, Gendel’s granddaughter and president of the Winter Ball charity foundation in Moscow, recalls that Gendel extolled communism but also enjoyed the rewards of the elite. He drove a fine car and always brought the family the best cakes and candies, she said.

The largest Gorky Street building Gendel moved was the Savvinskoye Courtyard. The most difficult was the Mossoviet, or Moscow city hall, with a balcony where Lenin had given speeches. The building, the former residence of the Moscow governor general, had to be moved with its basement. The ground floor had been a ballroom without central structural supports.

Moving buildings on Gorky Street in 1940, from left: A mechanic at a control panel regulates the supply of electricity while a house is being moved; a postal worker passes a moving house; a specialist unwinds a telephone cable during a building move to maintain uninterrupted communication; 13 rail tracks were placed under a house, on which 1,200 metal rollers were laid. (Photos by RGAKFD)

Gendel’s skills were used all over the U.S.S.R. — straightening towers on ancient mosques in Uzbekistan, inventing a means to drag tanks from rivers during World War II and consulting on the Moscow Metro.

Like many of the Soviet Union’s brightest talents, Gendel found that his freedom was tenuous. His ex-wife was called by the KGB internal spy agency in 1937 and asked to denounce him. She refused, and he avoided arrest.

“I believe he was not arrested and sent to the camps because he was a unique expert,” said Yastrzhembskaya. World War II, known in Russia as the Great Patriotic War, interrupted the Master Plan for Gorky Street.

Aragvi restaurant: A haunt of the KGB

In the 1930s, the head of the elite NKVD secret police, Lavrenty Beria, one of the architects of the Stalin-era purges, ordered the construction of a state-owned restaurant, Aragvi, to showcase food from his home republic of Georgia.

One night, NKVD agents descended in several black cars on a humble Georgian canteen in Moscow that Beria had once visited. The agents ordered the chef, Longinoz Stazhadze, to come with them. The feared NKVD was a precursor to the KGB.

Stazhadze thought he was being arrested, his son Levan told Russian media. He was taken to Beria, who said that he had agreed with “the Boss” (Stalin) that Stazhadze would run Aragvi. Stazhadze had grown up a peasant, sent to work in a prince’s kitchens as a boy.

Aragvi opened in 1938. It was only for the gilded set, a reminder that the “Soviet paradise” was anything but equitable. The prices were astronomical. It was impossible to get a table unless the doorman knew you or you could pay a hefty bribe.

Aragvi, at No. 6 Tverskaya, was a favorite of the secret police; government officials; cosmonauts and pilots; stars of theater, movies and ballet; directors; poets; chess masters. Beria reputedly dined in a private room. Poet Sergei Mikhalkov said he composed the lyrics of the Soviet national anthem while sitting in the restaurant in 1943.

It was privatized in the 1990s and struggled, before closing in 2002. It reopened in 2016 after a $20 million renovation. But the new Aragvi closed abruptly in 2019 amid reports of a conflict between its owner and the building managers.

“You put your entire soul into cooking,” said the former head chef, Nugzar Nebieridze, 59, celebrated for his khinkali, a meaty dumpling almost the size of a tennis ball. He was devastated to find himself unemployed. But other doors opened. He now prefers to travel, giving master classes around Russia.

Stalin’s funeral: A deadly street crush that never officially happened

On March 6, 1953, the day after Stalin died of a stroke, an estimated 2 million Muscovites poured onto the streets. They hoped to catch a glimpse of his body, covered with flowers and laid out in the marbled Hall of Columns near Red Square.

Yulia Revazova, then 13, sneaked from her house with her cousin Valery without telling their parents. As they walked toward Pushkin Square, at one end of Gorky Street, the procession turned into a scene of horror. They saw people falling and being trampled. Some were crushed against metal fences. Valery, who was a few years older, grabbed Yulia by the hand and dragged her out of the crowd.

“He held my hand really tight and never let it go, because it was pure madness,” she recalled recently. “It took us four or five hours to get out of there. People kept coming and coming. I couldn’t even call it a column; it was just an uncontrollable mass of people.”

“I still have this feeling, the fear of massive crowds,” added Revazova, 82. “To this day, if I see a huge group of people or a really long line, I just cross the street.”

Neither Revazova nor her cousin knew about Stalin’s repressions.

“People were crying. I saw many women holding little handkerchiefs, wiping away tears and wailing,” she recalled. “That’s the psychology of a Soviet person. If there is no overarching figure above, be it God or Lenin, life will come crashing down. The era was over, and there was fear. What will we do without Stalin?”

Officials never revealed how many people died that day. The Soviet-approved archival footage of the four days of national mourning showed only orderly marches and memorials.

No. 9: The ruthless culture minister

The Soviet culture minister, the steely Yekaterina Furtseva, was nicknamed Catherine the Third, after the forceful Russian Empress Catherine the Great. Furtseva destroyed writers, artists or anyone else who challenged Soviet ideas. She lived at an elite 1949 apartment building for government officials at No. 9 — an ultra-prestigious address with a view of the Kremlin.

Furtseva, a former small-town weaver, made sure that No. 9 was only for the cream of party officials and other notables, such as famous Soviet actress Natalia Seleznyova, scientists, conductors and architects.

Riding the coattails of Soviet leader Nikita Khrushchev, Furtseva was the only woman in the Politburo and later became the Soviet Union’s cultural gatekeeper despite her provincial sensibilities. She once infamously mixed up a symphony with an opera, and critics were quick to notice.

“She had little in common with the artistic leaders of her country except a liking for vodka,” Norwegian painter Victor Sparre wrote in his 1979 book on the repression of dissident Soviet writers, “The Flame in the Darkness.”

Furtseva was famous for previewing performances and declaring anyone even subtly critical of Soviet policies as being anti-state. Director Yuri Lyubimov described one such visit to Moscow’s Taganka Theater in 1969, when she turned up wearing diamond rings and an astrakhan coat. She banned the play “Alive,” depicting a cunning peasant’s struggle against the collective farm system. She “was livid, she kept shouting,” he told L’Alternative magazine in 1984. She stormed out, warning him she would use her influence, “up to the highest levels,” against him.

He was expelled from the party and in 1984 was stripped of his citizenship. She vehemently denounced Solzhenitsyn, and banned the Bolshoi Ballet’s version of “Carmen” in 1967 over prima ballerina Maya Plisetskaya’s sensual performance and “un-Soviet” costumes that did not cover enough leg.

“The ballet is all erotica,” she told the dancer. “It’s alien to us.” But Plisetskaya, whom Khrushchev once called the world’s best dancer, fought back. The ballet went on with some excisions (the costumes stayed) and became a legend in the theater’s repertoire.

Furtseva was nearly felled by scandal in 1974, ordered to repay $80,000 spent building a luxurious dacha, or country home, using state labor. She died months later.

Where Solzhenitsyn was arrested

The Nobel Prize-winning Solzhenitsyn exposed the Soviet system’s cruelty against some of its brightest minds, trapped in the gulag, or prison camps.

Solzhenitsyn was given eight years of hard labor in 1945 for privately criticizing Stalin, then three years of exile in Kazakhstan, a Soviet republic at the time. His books were banned. After release from exile in 1956, he was allowed to make only 72-hour visits to the home of his second wife, Natalia, at 12 Gorky St., Apt. 169. Solzhenitsyn had to live outside the city.

“People knew that there were camps, but not many people, if any, knew what life was like in those camps. And he described it from the inside. He had been there himself, and that was shocking to a lot of people,” said Natalia Solzhenitsyna during a recent interview at the apartment, which became a museum in 2018.

“Many people say that he did make a contribution to the final fall of the Soviet Union.”

Solzhenitsyn, who died in 2008, called Russia “the land of smothered opportunities.” He wrote that it is always possible to live with integrity. Lies and evil might flourish — “but not through me.”

The museum displays tiny handwritten copies of Solzhenitsyn’s books, circulated secretly; film negatives of letters smuggled to the West; and beads made of compacted bread that he used to memorize poems in prison.

“He spent a lot of time here with his children. We were always very busy. And we just enjoyed ourselves — being together,” Solzhenitsyna said. They had three sons.

No. 12 Gorky St., from top: Natalia Solzhenitsyna lived in the apartment for years, and her husband, Soviet dissident Alexander Solzhenitsyn, was allowed only short visits; the site now houses a museum displaying items connected to him, such as negatives containing a copy of a novel he wrote; another exhibit includes Solzhenitsyn’s clothes from when he was sent to the gulag and beads made of compacted bread that he used to memorize poems; the Nobel Prize-winning writer’s desk is featured at the museum. (Photos by Arthur Bondar for The Washington Post)

Because of KGB bugs, if the couple were discussing something sensitive, they wrote notes to each other, and then destroyed them. Two KGB agents usually roosted in the stairwell on the floor above, with two more on the floor below.

“The Soviet authorities were afraid of him because of his popularity among intellectuals, writers, people of culture and the intelligentsia.”

Her favorite room is decked with black-and-white photos of dissidents sent to the gulag, the Soviet Union’s sprawling system of forced labor camps. “It’s dedicated to the invisibles,” she said, pointing out friends.

Sweden planned to award Solzhenitsyn’s 1970 literature prize in the Gorky Street apartment, but the writer rejected a secret ceremony. A Swedish journalist in Moscow, Stig Fredrikson, was Solzhenitsyn’s smuggler. He carried Solzhenitsyn’s Nobel lecture on tightly rolled film disguised as a battery in a transistor radio, and he took other letters to the West and transported photos taped to his back.

“I felt that there was a sense of unfairness that he was so isolated and so persecuted,” Fredrikson said in a recent interview. “I got more and more scared and more and more afraid every time I met him.”

In 1971, the Soviet Union allegedly tried to poison Solzhenitsyn using a secret nerve agent, leaving him seriously ill. Early 1974 was tense. The prosecutor subpoenaed him. State newspapers railed against him.

The morning of Feb. 12, 1974, the couple worked in their study. In the afternoon, he walked his 5-month-old son, Stepan, in the yard below.

“He came back here, and literally a minute later, there was a ring at the door. There were eight men. They immediately broke the chain and got in,” his widow said. “There was a prosecutor in his prosecutor’s uniform, two men in plainclothes, and the rest were in military uniform. They told him to get dressed.”

“We hugged and we kept hugging for quite a while,” she recalled. “The last thing he told me was to take care of the children.”

He was deported to West Germany. The couple later settled in Vermont and set up a fund to help dissident writers, using royalties from his book “The Gulag Archipelago.” About 1,000 people still receive money from the fund, according to Solzhenitsyna.

When the writer and his wife returned to Russia in 1994, they traveled across the country by train. Thousands of people crushed into halls to hear him speak.

Solzhenitsyn abhorred the shock therapy and unchecked capitalism of the 1990s and preferred Putin’s tough nationalism. He died of heart failure at 89 in August 2008, five months after a presidential election in which Putin switched places with the prime minister, Dmitry Medvedev, in a move that critics saw as a ploy to get around constitutional term limits.

No. 6: ‘Feasts of thought’

Behind a grand Stalin-era apartment block at 6 Gorky St. sits an ornate 1907 building famous for its facade, art nouveau glazed blue tiles, elegant arches and baroque spires. Once a monastery dormitory, it was a staple of pre-Soviet postcards from Moscow. But in November 1939, the 26,000-ton building was put on rails and pushed back to widen the street.

Linguists Lev and Raisa Kopelev lived in Apt. 201 on the top floor. Their spacious dining room became a favored haven for Moscow’s intelligentsia from the 1950s to the 1980s.

“People gathered all the time — to talk. In this apartment, like many other kitchens and dining rooms, at tables filled more often than not with vodka, herring and vinaigrette salad, feasts of thought took place,” said Svetlana Ivanova, Raisa’s daughter from another marriage, who lived in the apartment for nearly four decades.

Solzhenitsyn and fellow dissident Joseph Brodsky were Kopelev family friends, as were many other artists, poets, writers and scientists who formed the backbone of the Soviet human rights movement of the 1960s.

As a writer and dissident, Kopelev had turned his back on the Communist Party and a prestigious university position. The onetime gulag prisoner inspired the character Lev Rubin in Solzhenitsyn’s novel “In the First Circle,” depicting the fate of arrested scientists.

“The apartment was a special place for everyone. People there were not afraid to speak their mind on topics that would be considered otherwise risky,” Ivanova said. “A new, different spirit ruled in its walls.”

Eliseevsky: Pineapples during a famine

The Eliseevsky store at No. 16 was a landmark for 120 years — born in czarist Russia, a witness to the rise and fall of the Soviet Union, a survivor of wars, and a bastion during eras of shortages and plenty. It closed its doors in April.

Eliseevsky fell on hard times during the coronavirus pandemic, as international tourists dwindled and Russians sought cheaper grocery-shopping alternatives.

In the palace-like interior, two chandeliers hang from an ornate ceiling. Gilt columns line the walls. The front of the store, looking out at Tverskaya Street, has a row of stained glass.

The Eliseevsky store, which opened in 1901, is seen in April, with a few customers and some archival photos, as it prepared to close as an economic victim of the coronavirus pandemic. (Photos by Arthur Bondar for The Washington Post)

Denis Romodin, a historian at the Museum of Moscow, said Eliseevsky is one of only two retail spaces in Moscow with such pre-revolutionary interiors. But Eliseevsky’s level of preservation made it “one of a kind,” he said.

The building was once owned by Zinaida Volkonskaya, a princess and Russian cultural figure in the 19th century. She remodeled the house into a literary salon whose luminaries included Russia’s greatest poet, Alexander Pushkin.

St. Petersburg merchant Grigory Eliseev opened the market in 1901. It quickly became a hit among Russian nobility for its selection of European wines and cheeses.

Romodin said it was Russia’s first store with price tags. Before Eliseevsky, haggling was the norm. And it was also unique in having innovative technology for the time: electric-powered refrigerators and display cases that allowed goods to be stored longer.

Even in the Soviet Union’s hungriest years, the 1930s famine, Eliseevsky stocked pineapples.

“One could find outlandish delicacies here, which at that time seemed very exotic,” Romodin said. “It was already impossible to surprise Muscovites with wine shops. But a grocery store with luxurious interiors, and large for that time, amazed and delighted Muscovites.”

The First Gallery: A glimpse of openness

In 1989, in a dusty government office by a corner of Pushkin Square, three young artists threw off decades of suffocating state control and opened the Soviet Union’s first independent art gallery.

That April, Yevgeny Mitta and two fellow students, Aidan Salakhova and Alexander Yakut, opened First Gallery. At the time, the Soviet Union was opening up under policies including glasnost, which gave more room for public debate and criticism.

Artists were ordered to adopt the Socialist Realist style in 1934, depicting scenes such as happy collective farmworkers. Expressionist, abstract and avant-garde art was banned. From the 1970s, underground art exhibitions were the only outlets to break the Soviet-imposed rules.

The First Gallery, from top: Yevgeny Mitta, Aidan Salakhova and Alexander Yakut opened the Soviet Union’s first independent art gallery in 1989 and received media attention; Mitta works on a painting that he displayed at his gallery; Mitta recalled recently that he “felt we had to make something new”; an undated photo of Mitta at his gallery in Soviet times. (Photos by Arthur Bondar for The Washington Post and courtesy of Yevgeny Mitta)

“I just felt we had to make something new,” recalled Mitta, 58, who kept his interest in contemporary expressionism a secret at a top Moscow art school in the 1980s.

“It was like nothing really happened in art history in the 20th century, like it stopped,” he said. “The Socialist Realism doctrine was invented and spread to the artists as the only one, possible way of developing paintings, films and literature.”

After the collapse of the Soviet Union, artists had to “learn how to survive, what to do, how to work and make a living,” he said.

McDonald’s: ‘We were not used to smiling’

In the Soviet Union’s final years, a mania raged for all things Western. Estée Lauder opened the first Western-brand shop on Gorky Street in 1989, after meeting Raisa Gorbachev, the wife of reformist Soviet leader Mikhail Gorbachev, in December 1988.

The Soviet Union’s first McDonald’s, located across Pushkin Square on Gorky Street, opened on Jan. 31, 1990 — a yellow-arched symbol of Gorbachev’s perestroika economic reforms. Pizza Hut opened later that year. (In 1998, Gorbachev starred in a commercial for the pizza chain.)

Karina Pogosova and Anna Patrunina were cashiers at the McDonald’s on opening day. The line stretched several blocks. Police officers stood watch to keep it organized.

The Soviet Union’s first McDonald’s opened in 1990 and eager customers lined up to enter; Karina Pogosova, left, and Anna Patrunina were cashiers at the fast-food restaurant on Gorky Street then, and they are senior executives with the company today. (Photos by Peter Turnley/Corbis/VCG/Getty Images and Arthur Bondar for The Washington Post)

“The atmosphere was wonderful. The first day I had to smile the entire day and my face muscles hurt,” Patrunina said. “This is not a joke. Russians do not smile in general, so we were not used to smiling at all, not to mention for more than eight hours straight.”

Pogosova and Patrunina were students at the Moscow Aviation Institute when they learned McDonald’s was hiring through an ad in a Moscow newspaper. Interview questions included: “How fast can you run 100 meters?” It was to gauge if someone was energetic enough for the job.

Pogosova and Patrunina are still with the company today, as senior vice president of development and franchising and vice president of operations, respectively.

“I thought that this is the world of opportunities and this new world is coming to our country, so I must be in this new world,” Patrunina said.

The smiling staff wasn’t the only culture shock for customers. Some had never tried the fountain sodas that were available. They were unaccustomed to food that wasn’t eaten with utensils. The colorful paper boxes that Big Macs came in were occasionally saved as souvenirs.

McDonald’s quickly became a landmark on the street.

“I remember very well that the street and the entire city was very dark and McDonald’s was like an island of light with bright signage,” Pogosova said. “The street started to change after McDonald’s opened its first restaurant there.”

Wild ’90s and a missing ballerina

The end of the Soviet Union uncorked Moscow’s wild 1990s. Some people made instant fortunes by acquiring state-owned enterprises at throwaway prices. Rules were being written on the fly. The city was pulsing with possibilities for those with money or those desperate to get some.

“It was easy to get drunk on this,” said Alex Shifrin, a former Saatchi & Saatchi advertising executive from Canada who lived in Moscow from the mid-1990s until the late 2000s.

It all was on full display at Night Flight, Moscow’s first nightclub, opened by Swedish managers in 1991, in the final months of the Soviet Union, at Tverskaya 17. The club introduced Moscow’s nouveau elite to “face control” — who merits getting past the rope line — and music-throbbing decadence.

The phrase “standing on Tverskaya” made its way into Russian vernacular as the street became a hot spot for prostitutes. Toward the end of the 2000s, Night Flight had lost its luster. The club scene in Moscow had moved on to bigger and bolder venues.

Decades before, No. 17 had been famous as the building with the dancer: a statue of a ballerina, holding a hammer and sickle, placed atop the cupola during Stalin’s building blitz.

Muscovites nicknamed the building the House Under the Skirt.

“The idea was to have Gorky Street as a museum of Soviet art. The statues represented a dance of socialism,” art historian Pavel Gnilorybov said. “The ballerina was a symbol of the freedom of women and the idea that, before the revolution, women were slaves. It is as if she is singing an ode to the regime.”

The crumbling statues were removed by 1958. People forgot them. Now a group of Muscovites, including Gnilorybov, are campaigning for the return of the ballerina.

“It’s an idea that we want to give the city as a gift. It’s not political,” he said. “It’s beautiful.”

Pushkin Square: For lovers and protesters

Pushkin Square has been Moscow’s favorite meeting place for friends, lovers and political demonstrations.

In November 1927, Trotskyist opponents of Stalin marched to the 27th House of Soviets at one end of Tverskaya Street, opposite the Hotel National, in one of the last public protests against the Soviet ruler.

In December 1965, several dozen dissidents gathered in Pushkin Square to protest the trials of two writers. It became an annual event. People would gather just before 6 p.m. and, on the hour, remove their hats for a minute.

In 1987, dissidents collected signatures at Pushkin Square and other locations calling for a memorial to those imprisoned or killed by the Soviet state. The movement evolved into Memorial, a leading human rights group. Memorial was declared a “foreign agent” in 2016 under Putin’s sweeping political crackdowns.

In January 2018, left, and January 2021, right, protesters gathered at Pushkin Square. (Photos by Arthur Bondar for The Washington Post)

Protests in support of opposition leader Alexei Navalny were held at Pushkin Square earlier this year. And it is where communists and liberals rallied on a rainy September night to protest 2021 parliamentary election results that gave a landslide win to Putin’s United Russia party despite widespread claims of fraud.

Nearly 30 years after the fall of the U.S.S.R., Putin’s Russia carries some echoes of the stories lived out in Soviet times — censorship and repressions are returning. Navalny was poisoned by a nerve agent in 2020 and later jailed. Many opposition figures and independent journalists have fled the country. The hope, sleaze and exhilaration of the 1990s have faded. Tverskaya Street has settled into calm stagnation, waiting for the next chapter.

Arthur Bondar contributed to this report.

Correction: A map accompanying this article incorrectly spelled the first name of a former Soviet leader. He is Vladimir Lenin, not Vladmir Lenin. The map has been corrected.

About this story

Story editing by Robyn Dixon and Brian Murphy. Photos and videos by Arthur Bondar. Archival footage from the Russian State Documentary Film and Photo Archive at Krasnogorsk; footage of Joseph Stalin’s funeral from the Martin Manhoff Archive, courtesy of Douglas Smith. Photo editing by Chloe Coleman. Video editing by Jason Aldag. Design and development by Yutao Chen. Design editing by Suzette Moyer. Maps by Dylan Moriarty. Graphics editing by Lauren Tierney. Copy editing by Melissa Ngo.

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