Be­spoke de­tail­ing

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Oui Fling fas­ci­nates on many lev­els: the Spirit aes­thetic is melded with the lat­est tech­nol­ogy and mod­ern in­flu­ences. The closer you look, the more in­no­va­tive the de­tails that come into fo­cus. And whereas the deck de­sign is a study in rac­ing er­gonomics, be­low decks is a vis­ual feast. The join­ery is com­pelling aboard any Spirit, but you can nor­mally only see glimpses of the plank­ing and frames – here the en­tire con­struc­tion is left com­pletely ex­posed.

Mcmil­lan drew the hull, us­ing sim­i­lar lines to his own 52, Flight, but with less buoy­ancy in the dis­tinctly lighter new boat. The struc­ture is still all in wood, us­ing sapele ring frames and yel­low cedar strip plank­ing. Two lay­ers of kaya dou­ble di­ag­o­nals were laid over this, be­fore the whole hull was glassed. But there is also car­bon hid­den in the struc­ture and deck in lo­calised patches to stiffen cer­tain load-bear­ing ar­eas.

“There was a lot of in­put from peo­ple we don’t work with nor­mally,” said Nigel Stu­art. Com­pos­ite spe­cial­ist Gra­ham Ee­les in Brightlingsea lam­i­nated the keel fin and rud­der blade us­ing one-off CNC built moulds. Hall Spars, which has worked with Laid­law in the past, con­structed the high mo­du­lus car­bon mast, while Dutch com­pany Smart Rig­ging did the com­pos­ite stand­ing rig­ging. “There’s no point in do­ing it in-house if it’s not our skill set,” is Spirit’s phi­los­o­phy.

The fore­deck is ex­cep­tion­ally clean. Note there are no stan­chions or life­lines and no bow roller

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