We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Amor Jimenez Chito ("AJC").
Amor Jimenez Chito is a yacht designer, based in Malaga, Spain, with a holistic approach to design, focusing on the integration of functionality and aesthetics. With a background in Industrial Design Engineering and specialization in yacht design, Amor has collaborated with leading design studios such as Coase Design, creating bespoke interiors and exteriors for yachts and superyachts for prestigious brands such as Sunseeker, and has contributed to several high-profile yacht projects. His work emphasizes conceptualization, research and pure design, and aims to improve and elevate the experience for the next generation of owners and users of all levels. By continually exploring new technologies and materials, Amor aims to push the boundaries of yacht design, generating a positive impact on the boating industry and promoting water-related leisure activities. After founding One Water Toys, his own company and personal project, he sought to research and develop a range of water toys that could complement yachts and superyachts, and also bring yachting closer to other water-sports users.
Amor Jimenez Chito Designs
We are pleased to share with you original and innovative design work by Amor Jimenez Chito.
Amor Jimenez Chito Design - One 16 Hybrid Jetski Boat
Designer Interview of Amor Jimenez Chito:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
AJC : I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew buildings, cars, houses, boats, without really knowing what or how they could be made. It wasn't just about drawing, but about imagining new forms. Over time, that curiosity became my profession. I studied industrial design engineering and later a master's degree in transportation design, where I specialized in yacht design because I felt it was the most authentic expression of my identity: where creativity, engineering, and nature come together. I've always loved transportation, and as an engineer, I sought fulfillment in this field. As for my creative side, I always sought to imagine and create. I was born and raised in a coastal town and have always been connected to the sea. Designing yachts isn't just a job for me; it's my way of creating and expressing my creative side within an extremely technical context.
DI: Can you tell us more about your company / design studio?
AJC : This company is called One Water Toys. It essentially stemmed from a simple idea: to challenge the concept of a water toy. It also served as an opportunity for me to explore different facets of the nautical industry. I wanted to create something more: something modular, functional, aesthetically pleasing, and meaningful. Over time, One Water Toys is becoming a space for experimentation, pushing the boundaries of what we consider "design" in the nautical world. I'm proud to lead this studio not only as a designer, but as someone who deeply respects those who use these vessels. Our flagship product, the ONE 16, embodies our mission: to create personal watercraft that offer more freedom, adaptability, and beauty than conventional models. We don't just build machines; we create new ways to experience the sea.
DI: What is "design" for you?
AJC : For me, design is a conversation. Between materials and imagination. Between utility and emotion. Between what already exists and what could exist. Good design solves problems, yes, but good design creates experiences. It invites people to participate. It makes them feel something. That's what I strive for with every design: not just performance or aesthetics, but connection. I can think of design as an emotional strategy.
DI: What kinds of works do you like designing most?
AJC : Obviously yachts. I'm most inspired when I design objects that move, both literally and emotionally. Yachts, in particular, have soul. They transport people through places, but also through moments. I enjoy designing "artifacts" that not only serve a function but also create an experience. I love finding that balance between elegance, efficiency, and emotion.
DI: What is your most favorite design, could you please tell more about it?
AJC : It's an extremely complex question to answer. There are many fields in which I have a lot of options to choose from: automotive, architecture, products, furniture, yachts, cinema, and more. From a Ferrari 250 GTO or an Aston Martin DB11, the Bosco Verticale building in Milan, Zaha Hadid's Heydar Aliyev Cultural Center in Baku, Dieter Rams' designs for Braun, and many more that I could exemplify.
DI: What was the first thing you designed for a company?
AJC : The first naval project I completed was a yacht concept for a shipyard in the Mediterranean. It was a vessel designed for passenger transport, sea tours, diving, and more; pure aquatic leisure. I remember thinking and obsessing over every curve, every area of the deck. It wasn't perfect, but it taught me how challenging and rewarding it is to design something that must perform at sea and, at the same time, inspire people to dream and enjoy. That project gave me the confidence to keep building and keep believing.
DI: What is your favorite material / platform / technology?
AJC : I'm drawn to composite materials, especially when they allow us to combine form and function without sacrificing anything. We're fortunate to live in a time of constant experimentation and discovery. But honestly, what excites me most is how materials behave, not just how they look. I also love working in 3D modeling environments like Rhino and Keyshot, tools that quickly and intuitively shape ideas and create a realistic image. Technology should feel like an extension of your thinking.
DI: When do you feel the most creative?
AJC : Curiously, my best ideas don't come in front of a screen. They usually come when I'm away from the studio or in front of a blank sheet of paper: driving, sailing, walking, or even silently gazing at the sea. Creativity sometimes appears when I stop looking for it—and then it becomes clear: a line, a proportion, a new way of using space.
DI: Which aspects of a design do you focus more during designing?
AJC : I'm obsessed with proportion and balance, and perhaps I'd say symmetry; although sometimes I find asymmetries beautiful and justified. Every line must have a purpose. But beyond aesthetics, I focus on how the design will be experienced: Is it comfortable? Is it intuitive? Does it convey something? Does it need to fulfill all of the above? I want each design to convey and tell a story.
DI: What kind of emotions do you feel when you design?
AJC : Designing is a mix of vertigo and euphoria. At first, it might seem like everything is uncertain… and then, as the pieces fall into place, you feel something akin to a revelation. It's a tremendously comforting sensation, as if it already exists somewhere and you're simply discovering it.
DI: What kind of emotions do you feel when your designs are realized?
AJC : Seeing a floating yacht born from a sketch in my notebook for the first time is hard to explain. There's pride, yes, but also humility, reward, and joy. The design stops being yours and starts belonging to everyone else. And when you see someone enjoying it... then you know it was worth it.
DI: What makes a design successful?
AJC : Here I would paraphrase Dieter Rams and his 10 principles of good design: innovative, useful, aesthetic, durable, thoughtful, etc. And I would add that good design is also one that stops focusing on itself and becomes an experience. Beyond solving a problem, it generates opportunities and emotions. If you can make someone smile or get excited about using what you've created, then you've done your job well.
DI: When judging a design as good or bad, which aspects do you consider first?
AJC : First, I ask myself: Does it work naturally? Then I look at how it flows visually and whether there's coherence between form and function. In other words, I evaluate it based on its usability, aesthetics, and distinctive value. But above all, I ask myself if it conveys something. Good design not only solves problems, it also communicates.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
AJC : Designing isn't just about creating; it's about assuming responsibility. Every decision has consequences, from the materials to the emotional impact. I believe designers should act as a bridge between innovation and awareness: we must imagine more sustainable and humane futures. We have a responsibility to minimize the environmental impact of our products. I also seek to foster a more respectful and conscious relationship with the marine environment.
DI: How do you think the "design field" is evolving? What is the future of design?
AJC : Design is becoming more human. It's no longer just about beauty or functionality, but about ethics, inclusion, sustainability, and emotion. The future of design isn't just about objects, but about the experiences we create with them. And I find that deeply exciting. In yachting, we will see smarter, more efficient, and connected vessels, but also more user-centric. The future of design will be collaborative and increasingly transversal across disciplines.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
AJC : My most recent "exhibition" wasn't a gallery, but an experience: the unveiling of the ONE 16 on the water with my company, One Water Toys. Seeing people approach it, marvel at it, and talk about it was the best showcase. As for what's next, we'll be participating in a few boat shows.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
AJC : Inspiration comes from the sea and nature, of course, but also from unexpected places: a conversation, the silhouette of a car, a song that evokes a feeling in me. It's from observing how people use space and objects. My creativity thrives when I unwind: on walks at sunset, traveling, or simply looking at other "old" designs with fresh eyes.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
AJC : My style seeks a balance between the functional and the emotional. I like clean lines but with intention, with each element serving a purpose. I would perhaps describe it as intentional, unapologetic minimalism, where there's always room to remember my roots or express what the future owner wants to portray. I don't chase trends, but I do rely on them as tools. I design to create moments.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
AJC : I live in southern Spain, in a small town on the Costa del Sol. This environment imprints a certain character: we value beauty, enjoying the moment, contact with nature, and Mediterranean and ancient culture. It's also where nautical tradition and a passion for the sea are part of our daily lives. This inevitably permeates my designs. I am privileged to have an enviable climate, cuisine, and environment. The challenge is that it's sometimes difficult to find local industry or logistics prepared to innovate at the pace we desire, which forces us to be more creative in the way we produce and distribute.
DI: How do you work with companies?
AJC : I work through active listening. I like to understand what they want, what they fear, what they expect. Then I translate that into design. I create long-term relationships, where dialogue is more important than contracts. My goal is for the company to see me not as a supplier, but as a creative partner. I collaborate with companies through a structured yet flexible co-creation process. I bring my design vision, powerful visual tools, and a very end-user-oriented approach. I'm involved from ideation to implementation, with transparency, rigor, and long-term commitment.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
AJC : A good designer is someone who listens, adapts, and engages. They translate a company's vision into a tangible experience. Intuition and empathy are as valuable as a portfolio. The value lies in finding long-term synergies, not one-off solutions. A good designer must question, contribute, and commit to the outcome and impact of the project.
DI: Can you talk a little about your design process?
AJC : It starts with observation and research. Then I move on to sketching, and research again alongside it. I move from paper to plans, to 3D, to rendering. And then to production. Then to the sea. I always come back to the user: I imagine what they'll do, how they'll interact, what they'll remember. It's a process of trial, error, intuition, and many iterations until I get it right.
DI: What are 5 of your favorite design items at home?
AJC : 1. An Italian coffee maker, for its shape and memory. 2. An Eames lounge chair, for its iconic simplicity and presence. 3. A wooden lamp. 4. A notebook always at the ready. 5. A vessel model of a project.
DI: Can you describe a day in your life?
AJC : It starts with a coffee and some reading. I follow with a brief walk to get my body moving, usually while listening to a podcast related to my industry or my latest interest. Depending on my needs and the time of week, I can continue with technical work and/or calls or meetings. After the lunch break, I then continue with some work, creative development, or client contact. In the late afternoon, I unwind to exercise or relax on the beach or at sea.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
AJC : Don't rush. Style comes when you stop imitating or with experience. Listen more than you talk. Be interested and curious about what's around you and what might affect your future. Try to develop your own vision, cultivate discipline, and surround yourself with discerning people. Learn from those who know and those who feel. And above all: design with your feet on the ground, without limits or filters, and your eyes on the horizon.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
AJC : The positive: you can create something that didn't exist before. The negative: you never fully disconnect, and it's not usually recognized at the business level. You analyze everything, you imagine everything improved. You could say it's a blessing... and a creative curse.
DI: What is your "golden rule" in design?
AJC : Form and function should be inseparable, but experience should always be key.
DI: What skills are most important for a designer?
AJC : Curiosity, empathy, visual thinking, communication, observation, strategic thinking, creative problem-solving, handling of technological tools, and aesthetic sensitivity.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
AJC : Pen, paper, Rhino and SolidWorks, Keyshot, Photoshop, or Illustrator. But also an open mind and silence.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
AJC : I divide the day into blocks and leave time to unwind. Creativity needs oxygen. I use agile methodologies combined with creative immersion phases. I plan realistic timescales and regular review cycles.
DI: How long does it take to design an object from beginning to end?
AJC : It depends on the type of product or project. Sometimes it can take from days to weeks or even months from the initial concept to the first working prototype.
DI: What is the most frequently asked question to you, as a designer?
AJC : Can this be done cheaper? Why is this so expensive? Is there a way to do it faster?
DI: What was your most important job experience?
AJC : Designing the ONE 16 has been a turning point. It's a project that encapsulates part of what I believe about design and yachting. Leading the development of my company has meant consolidating a new boat model on the market and a different way of thinking about aquatic mobility. It's also meant navigating all the business layers of a startup.
DI: Who are some of your clients?
AJC : From private clients to world-renowned firms. I collaborate with several international studios, including Coase Design and Sunseeker, for example.
DI: What type of design work do you enjoy the most and why?
AJC : Design that forces you to look differently, to rethink preconceived ideas. Projects that merge technology, aesthetics, and user experience in real-life environments.
DI: What are your future plans? What is next for you?
AJC : Continue designing boats that excite, and expand into new typologies and collaborations. Expand the ONE product family, internationalize the brand, and continue pushing the boundaries of functional nautical design.
DI: Do you work as a team, or do you develop your designs yourself?
AJC : The heart of design often comes from my head and my hands, but without a team, it doesn't come to life. I design in collaboration with experts, engineers, shipyards, and users. Design is an orchestra.
DI: Do you have any works-in-progress being designed that you would like to talk about?
AJC : There are currently several projects in the making. I'm also working on more specific versions of the ONE 16, one for families and another for professional and water sports.
DI: How can people contact you?
AJC : Through my website, social media, or by emailing me directly. I always reply back.
DI: Any other things you would like to cover that have not been covered in these questions?
AJC : Design is not luxury or decoration. It's a tool for change and emotional strategy. I invite all stakeholders and professionals in the sector to rethink the relationship between technology, sustainability, and pleasure. Because the sea, in addition to being explored, must be cared for.