Michael Peters is one of the world’s most respected yacht designers. His studio, Michael Peters Yacht Design in Sarasota, Florida, has worked with major production builders such as Azimut, Bertram, Chris-Craft, Hinckley and Valhalla Boatworks, and has created bespoke vessels for premier yards like Van Dam Custom Boats and Brooklin Boat Yard. When he isn’t designing, Peters and his family cruise aboard one of three Bertrams they own. We spoke with him to get his insights on the evolution of boat design and where the industry is headed.
You’ve been a professional boat designer since the early 1970s. How many boats have you created over the course of your career? The studio’s portfolio is well into the 500s, covering boats from about 20 to 160 feet. Much of our work falls in the 40- to 60-foot range. There’s little activity in the 70- to 90-foot sector at the moment—larger builds tend to come from Europe, where we aren’t as active as we once were.
When did you design your first boat? I started at 14, designing an 8-foot fiberglass sailing dinghy I cheekily named Miss Take. I later destroyed it with a tractor, but that early project set me on the path to becoming a powerboat designer.
Which of your designs stand out most to you? Maelstrom, a 19-footer I designed around age 21. It was my first stepped-hull design and represented a real breakthrough in original thinking. I tried to improve performance and even sought a patent. Although the design’s influence took time to spread, it became one of the factors that helped the industry embrace stepped hulls decades later.
What drew you to stepped-hull concepts? I spent childhood summers on Catalina Island where Grumman Goose seaplanes would land and taxi in rough seas. I noticed how steady they were and learned that the step played a role. I left engineering school at the University of Southern California to focus on developing and patenting a stepped hull for powerboats—the first of its kind—and that marked my entry into the marine industry. I’ve long believed that bold, youthful experimentation leads to major breakthroughs because young designers often have nothing to lose.
What’s the future of the stepped hull? I think the stepped-hull idea is approaching maturity. New variations will be explored, but many will ultimately converge on solutions similar to what already works—much as happened with the deep-V hull. Designers sometimes overreach, only to discover that established forms remain the most effective.
How widespread are stepped hulls today? They still represent a small percentage of all powerboats, but their influence is tangible—especially in large offshore center-console designs. For us, a major validation has been a five-year contract designing 61-foot stepped-hull boats for the U.S. Navy SEALs, which underscores the practical value of the concept.
What was the next major milestone in your career? The race boat Iceberg for Norberto Ferretti. It was one of the first to use aerospace-level advanced composites, and it made clear that composites were the future. Although Iceberg didn’t win championships, it raised the bar and pushed construction and performance standards forward.
Racing brought you recognition. What attracted you to that world? Racing accelerates innovation. When I began, world-record speeds were around 91 mph; later they topped 200 mph. While I don’t want to be pigeonholed as only a race-boat designer, those projects drove major advances in high-speed design and composite technology. I earned a strong racing record, including 20 world championships, and those experiences were foundational to my approach.
Did you ever race your own designs? I did test one boat with my then-wife, and we rolled it over—an experience that convinced me I wasn’t cut out to be a racer. That ended my personal racing ambitions.
How has boat racing changed since your early days? It’s cycled through many phases. Early on, offshore running mattered most. Later came transitions from deep-V to catamarans, faster craft and different course designs. In the mid-1980s racing shifted toward Europe and became very experimental and expensive, favoring well-funded teams. The sport has diminished in recent years, but I was fortunate to be part of its most intense and inventive eras.
Who influenced your career the most? Sal Guarino, who was vice president of design at Halter Marine when I worked there. He was a self-taught, instinctive designer with a keen eye for aesthetics and technology, and he mentored me. Another important figure was George Griffith, a top sailor and a family friend who inspired my work on ultralight displacement designs like Sarissa.
Have you ever designed a boat for yourself? Designers often find a blank canvas overwhelming. I own three Bertrams and have customized them to be pragmatic and functional. My 1971 25 Bertram is stripped back and versatile—like an empty truck bed—so I can tailor it to my needs.
Which surprise designs came from your studio? The Chris-Craft Launch and Corsair often surprise people. Those models, developed as Chris-Craft emerged from bankruptcy under Stephen Julius, helped restore the brand’s image. The project began when OMC’s president saw Alpha Z, a 95-mph mahogany runabout I designed for Van Dam, and encouraged Chris-Craft to hire me. The result was a dramatic reinvigoration of the marque’s aesthetic.
What trends do you see on today’s docks? Traditional, proportion-focused designs have largely given way to boats that prioritize interior volume. In many markets, especially Florida, deck boats are very popular—buyers favor usable space over classic lines. That shift echoes earlier experiments like the Cargill Cutter of the 1960s, which sacrificed traditional beauty for headroom and cabin volume. Designers like Olin Stephens lamented this move away from classic proportions, noting that historic boats kept low sheer lines to preserve elegance. Today, practicality often wins.
Are there still beautiful, classic-style boats being built? Yes—custom projects continue to produce elegant runabouts. For example, we designed a 1960s Riva-inspired mahogany runabout for Brooklin Boat Yard. These bespoke builds are rare but demonstrate that craftsmanship and classic aesthetics still have a place when the client and builder are right for the project.
How have boat owners changed? Many current owners did not grow up boating; they acquired wealth and bought boats later in life. That contrasts with older generations who learned to handle boats as children. The newer owners are often novices, which has diminished certain segments such as sailboats that once relied on lifelong enthusiasts.
Which of your designs best reflects your aesthetic? Picking a single favorite is like choosing a favorite child. I’m proud that many of my designs were not only visually well received but also outperformed peers in their classes. That combination of form and function is what I value most in my work.
How long will you continue at this pace? I plan to keep working for a few more years, and we have a transition plan in place. Eventually I’ll step back into a consulting role. I may still design occasionally, but I don’t plan to manage the daily business much longer.
What will you do with more free time? My wife and I have a house on Catalina with a mooring. She reminds me I don’t get out on the water enough, so stepping back will let me return to the harbor where I grew up. Out there, I’m just a boater again—no titles, no expectations—something I really look forward to.
This article was originally published in the April 2021 issue.