S.R.: 49° Cannes Yachting Festival – What's going on?

First time published: 2026 Sept 24

49° Cannes Yachting Festival – What's going on?

written by: Alexander Panzeri – assisted by Nostroma Analitica Digitale

After a short detour to visit Monaco before its own boat show, here I am in Cannes for the 49th edition of the Yachting Festival, which opened on 8 September 2026. As every year, the Vieux Port and Port Canto prepare to become the centre of the nautical world. But this year something is different. It's not just the weather – Wednesday and Thursday were marked by rain and grey skies, while today, Friday, the longest day, woke up with variable skies that cleared in the afternoon, giving a pleasant temperature compared to previous years. It's a subtler feeling, one you sense walking along the docks. The show hasn't changed in substance, yet something in the air is different. There's a melancholic atmosphere, as if the show were trying to hold on to an identity that's slipping away.

Let's start with a personal note. Last year my press pass was denied with a stated reason: ostracism towards industry photographers. This year, the rejection email didn't even arrive. Silence. In an age when communication is everything, no reply is a stronger message than an explicit refusal. So, once again, I had to sacrifice €40 of my budget for a ticket. It's not a complaint: it's a statement of fact.

Numbers that don't add up

The official press releases speak of 56,600 visitors, in line with the 2025 record (56,000). But the accounts of those present tell a different story. The pre-show estimate was 56,000 expected visitors, and the final figure is only 1,000 more than in previous years. Suspicious precision, as if the number had been written before the gates even opened. And then there's the discrepancy: the 56,600 figure appeared only in some specialist sources, while others report 56,000; that in itself is a signal. Voices from the field confirm the feeling. Boat International, on 15 September, described the show with a precise formula: "fewer clients, but stronger prospects." Brokers and shipyards confirmed a perception of reduced overall footfall, with particular reference to Friday evening, historically the longest and busiest day. And here's an observation I hadn't made before: exhibitors gave the real impression of having spent more energy – and more money – on the evening "party", with musicians, DJs, canapés and finger food, than on their stands and their products. A sign of how the show is changing skin: less showcase, more empty social event.

The Port Canto area, in the evening, was deserted well before 9:00 PM. There was no limit on access to the docks – there was simply no one left. And that says a lot about how the show is losing some of its more "human" functions.

Sailing is dead, motor boating is more selective

The accounts from agents and brokers are clear and convergent. Sailing is in sharp contraction. Brokerage data for the first half of 2026 (H1, i.e. January-June) confirms it: the value of sailing yacht sales fell by -29.8%, with some sources speaking of a drop of up to -47%. The sailing segment accounts for 120 units out of about 700 (17% of the total fleet), slightly down from 2025 (128 units). "Sailing is dead," say the operators. It's not hyperbole: it's the summary of a market that's changing skin.

Motor boating holds its value, but with fewer transactions. The value of motor yachts grew by +18% (H1 2026), but with fewer units sold and higher average tickets. The clients present are more selected, with an entry threshold that operators place around €300,000. "Fewer clients, but those here are quality," a broker tells me as we wait to cross the bay at 8:45 PM on the shuttle RIBs. It's a phrase I hear repeated in various forms. And there's a detail not everyone notices: the increase in value is not necessarily a sign of growth. If the average price of a 40-metre boat goes from €12 million (2019) to €18 million (2026) due to inflation and construction costs, the total value of sales can grow even with fewer transactions. Same metres, higher price. It's a statistical effect that needs to be read carefully.

Very interesting, if we look at the international hydrocarbon situation – ecologically speaking too – one would expect a preference for less thirsty boats. Yet sailing, which has little to be thirsty about, is in crisis. It's a paradox worth keeping under observation.

What are the problems with sailing???

Nautor Swan is a case that deserves a section of its own. The Finnish shipyard celebrated its 60th anniversary in Cannes (1966-2026) with the world premiere of the Swan 80, the opening model of the Swan Maxi range. Designed by Germán Frers, Lucio Micheletti and Misa Poggi, the Swan 80 is conceived to stay just under the 24-metre regulatory threshold. Twin rudders, multiple keels, and a stern that opens into a swim platform with tender garage.

But the figure that deserves attention is another. Nautor Swan brought only two boats to Cannes: the Swan 80 and the Swan 58. No motor boats. Yet the yard has had a motor yacht division since 2021. Why not bring them to Cannes? The yard's strategy is clear: focus on sailing, on the 60th anniversary, on the Maxi Swan range. But one has to wonder – and I'm not the only one – why their analysts keep failing to suggest bringing the yard's sport range, even alternating, from 28 to 50 feet (8.5-15.2 metres). It's one of the brand's characteristics, and it's curious that it isn't highlighted at a show like Cannes. On top of that, there's the deviation from attending events like the Giraglia and Les Voiles, where sailing is the protagonist. Nautor Swan seems to want to be present only where it can control the message. It's a legitimate choice, but it leaves a void.

Also worth noting: Wally has a double sailing soul like Swan, and they too haven't brought their Aeolus-propelled pearls for some time.

Details you don't expect: ICONA 70 and Lagoon 47

The ICONA 70 is without doubt one of the stars of this edition. The first model of the "Icona inspired by Mangusta" brand, presented as a world premiere at Cannes 2026. Founded by the Balducci family and Stefano Arlunno (EFFEBI New Project), with construction criteria from Overmarine Group. Design by Igor Lobanov, 18 months of work across exteriors, interiors, ergonomics and helm. Stern with folding wings, beam over 9 metres, 40 m² platform, the "Stairway to Heaven" (Led Zeppelin quote) to step down into the water. Two elements inspired by vintage amplifiers: outdoor kitchen and DJ console. Helm with 4 x 19-inch touchscreens. Propulsion 3x Volvo Penta D13 IPS1350, 1,000 hp each. 36 knots top speed, 30 cruise, 270 nautical miles range. LOA 20.90 m.

All very nice. But there's a detail not everyone notices, and which deserves to be told. The curved wraparound windshield, with no vertical mullions, inspired by a fighter jet canopy. When the side bulwarks are lowered to extend the aft terrace, the glass windshield stays in a vertical position. No longer supported by the bulwarks, the glass is exposed to different stresses – vibrations, flexing, impacts – was it designed for that too? And there's a risk to people: anyone stepping into the water from the terrace can hit the edge of the windshield, which remains protruding. In rough seas or sudden movements, the glass can become a dangerous obstacle. I talked about it with a technician from another yard and another sector, on the passerelle while we admired the yacht. His expression, initially surprised then drawn, says it all. It's a detail that takes nothing away from the beauty of ICONA 70, but that needs to be flagged.

Speaking of details, I almost missed another one – very discreet but with "disastrous" consequences. The new Lagoon 47ft (14.95 m) can be seen in the photo below: a series of paired stickers marking the limits for fender installation. I'll let you imagine what can happen in port, but above all dwell on the design – there's a whole range of theories on this. Draw your own conclusions.
(The official website also states that the model is shortlisted for the European Yacht of the Year Award).

XO, AXOplan and ZARFormenti: showing innovation

XO Boats decided to show a hull structure section at Cannes, to draw attention to its aluminium workmanship. The EXPLR 44, the Finnish yard's flagship, is an aluminium adventure yacht with a deep-V hull and Seakeeper systems. The choice to show the bare structure – not just the finished product – is a sign of transparency and confidence in build quality.

AXOPAR focused on the evolutionary history of its hulls, with a display showing the "REDAN steps" (the different hull generations). A narrative approach that tells the yard's technical evolution. ZARFormenti, too, has been using its hulls for a while and hasn't felt the need to show them off. During the show, the Italian shipyard received excellent news: it's among the finalists for The Best of Boats Award https://tinyurl.com/yc57zfjy with their 115 (Gallery: https://tinyurl.com/2xpr3zst ; Test article: https://tinyurl.com/4vnkj875 )

The surprises: 3 rare gems

In a context dominated by commercial products, three presences broke the routine. The first is Antoine F. (Antoine Fritsch), a French designer and sculptor who brought his nautical-themed creations to Cannes. They are not simple models: they are sculptures reinterpreting iconic ships, such as WALLPOWER 118 (the iconic motor yacht inspired by stealth fighter-bombers) and TUIGA D-3 (the stunning 15mR of the Yacht Club de Monaco). His works were exhibited at the Musée National de la Marine in Paris in 2024, on the occasion of the America's Cup and Paris Design Week; they will also be present at the Les Voiles de St. Tropez regatta. His presence in Cannes added an artistic and cultural dimension rarely seen at a boat show.

The second is SKAW, a shipyard/design studio from Lorient with a very young team and a decidedly off-the-beaten-track approach. The people present were very willing to present their new creation: a 39ft (11.95 m) private cruiser yacht with "Daggerboard" C-Foil appendages and a future full hydrofoil project. The SKAW [A] is a cruising scow in carbon/PVC sandwich (they made very wise choices keeping the carbon in the structure and "fibreglass" in woven skins in the live part), designed by Clément Bercault on a concept by Benoît Marie. The first images were released at Cannes, but the boat was in Lorient. A pity – it remains one of the most interesting projects of the edition.

The SKAW[A] also received a nomination among the finalists of the European Yacht of the Year Award 2027 https://www.europeanyachtoftheyear.com/ .

There's a supplier that didn't bring a boat to Cannes 2026, but still left its mark. Ultra Marine specialises in stainless steel anchors, hand-produced and polished. The range goes from 5 kg to 360 kg, for boats up to 186 ft (56.7 metres). The company has Turkish origins: it was founded as Boyut Marine in 2000, as a division of a company that has been designing and producing stainless steel mechanical parts since 1978. The Ultra Marine name arrived in 2012, when products branded ULTRA became better known than the original name.

Ultra Marine anchors stand out for a design that favours immediate grip: the reversed tip for penetration, the concave base for maximum hold, an attachment point to reduce dragging. The American Bureau of Shipping has certified a resistance seven times higher than traditional Admiral anchors. At Cannes 2026, Ultra Marine sponsored the Solarium, the new relaxation area on the Vieux Port beach, with loungers, umbrellas and a photobooth with the festival's 3D logo. Throughout the show, the team held live demonstrations and interactive presentations of its anchoring solutions in the area next to the Solarium.

And then there's Mr. Letter, Ultra Marine's spin-off dedicated to boat name lettering. Mr. Letter produces three-dimensional logos in marine composite material – not stainless steel, but a marine-grade plastic compound resistant to UV and salt water. The process is interesting: the logos are mould-pressed, not laser-cut, and this allows for a real three-dimensional effect with curved surfaces, not just a flat silhouette. The client can choose from five typefaces, four colours (silver, anthracite, black, gold) and two finishes (matte or gloss), in four sizes with thicknesses from 4 to 8 millimetres.

The cleverest part is the online configurator with real-time rendering. A sign of how even an apparently simple product – the name of a boat – can become an opportunity for customisation and design. And Ultra Marine, with its spin-off, proves that attention to detail doesn't stop at the anchor.

Bellini and the debut of its first outboard

Among the stars of this edition, Bellini Yacht brought three world premieres to Cannes: the Astor 38 OTB, the Astor 38 PISTA and the Astor 68. The yard's highlight is the Astor 38 OTB, the first outboard in the yard's history: 38ft (11.89 m length, 3.90 m beam), with 2x Mercury Verado V10 400 hp and 1,000 litres of fuel capacity. Two cabins plus bathroom, opening aft sun pad. The other star from the yard is the Astor 38 PISTA, a one-off built for Francesco Castellacci, an Italian professional racing driver competing in the FIA World Endurance Championship (WEC) for Vista AF Corse.

The ice cream vendor, the €21 pizza and the hospitality crisis

There's a detail that may seem marginal, but which says a lot about how this show is changing: the ice cream vendor (Italian, obviously!). It's not a matter of gluttony, but of survival. The ice cream vendor used to be a social gathering point, a moment of pause, an occasion for interpersonal exchange. Its absence in the centre of the show is yet another sign of how the show is losing some of its more "human" functions. This year, the only real refreshment area was at Port Canto, on the pier of the super-mega charter/broker yachts. The food quality was good, but the price was found to be over the top: €21 for a Reine pizza and a Coca-Cola, served on wooden tables without tablecloths, napkins, cutlery or glasses. It's not just a price issue: it's a sign of a crisis in the show's hospitality model.

And it's no better elsewhere. The show's terrace dining is split between an exclusive VIP area and a restaurant with limited space: the result is that for most visitors, options shrink to a few refreshment points. On top of that, there's a systematic lack of shaded areas: walking along the docks in the central hours of the day becomes an endurance exercise. The hope is that with the completion of the new port works, this too can finally improve.

A show in transition

Cannes 2026 was a show in transition. The official figures speak of stability, but the accounts tell of a sector looking for a new balance. Sailing is in contraction, motor boating is focusing on more selected clients. Hospitality is in crisis, with prices that don't justify the service. And yet, amid all this, there were surprises: Antoine F. with his sculptures, SKAW with its foiling, XO with its construction transparency. And there's Bellini, which debuted in outboards with a model that promises well.

Details matter and make the difference – if you neglect them, problems begin!

Next year will be the 50th anniversary. An important milestone, which the show will celebrate from 7 to 12 September 2027. It will be an opportunity to see whether Cannes (and the boating industry) can find its soul again???

As far as I'm concerned, my presence is not guaranteed. It's true that there's no two without three "tickets", but if the situation stays like this, I have no intention of wasting time and money.

Useful Links:

Sources: https://tinyurl.com/yj6ss4hu (premium content)

Gallery: https://alexander-panzeri.smugmug.com/Projects/MegaYachts/CYF/CYF2026

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