If it seems that Vietnam is still a blank spot on the map of Southeast Asia and surrounded by a somewhat mysterious dogma that yachting in the country is not possible or available, think again. There are about 200 registered yachts under the Vietnam flag and in the last 10 years, dozens of foreign-flagged yachts and superyachts have visited.

In addition, a large fleet of vessels offers day trips and mini cruises. Although not classified as yachts but as passenger or tourist boats, their purpose comes close to the definition of yachting.

The Ministry of Transport of Vietnam is rolling out a five-year ‘Yacht Management Project’ for yachting to become a signature tourism service by 2030. The objective of this pilot scheme, coordinated by the Vietnamese Maritime Administration, is to expand cooperation with international brands to supply and provide yachts and yachting services, with a focus on encouraging the private sector. Below are some of the key needs being officially examined, to help make this happen.

DEFINITIONS

The first step is to set the definition for yachts and yachting in the National Maritime Code. When I needed to register one of the first sailboats in Vietnam for my new charter business in 2009, a Corsair 750 Sprint trimaran, they asked what the purpose of this boat was going to be.

“Just to sail around Nha Trang Bay for fun,” was my answer. That appeared to be a problem, as “fun” was not on the list of possible purposes. As fishing or transporting cargo were not part of our operation plan, we settled on a passenger boat.

ESTABLISHING ZONES

The long coastline offers many benefits for the Vietnamese economy, but it also makes Vietnam vulnerable, so the navy, coastguard and immigration authority want to control territorial waters. Establishing zones for yachting activities will create clarity for all involved and make it easier to focus on developing yachting services and facilities.

I took a delegation of governmental and military officials on a survey trip to define the area in which I was allowed to sail. It was enjoyable – we did this on one of the Coast Guard patrol boats – but also a bit funny as we cruised to waypoints in the middle of the sea to confirm there were no objections to sail there.

MOORING AREAS

When I was project manager of Ana Marina, located in Nha Trang and the country’s first marina, there were no clear rules and regulations for marina design and construction. So, it was developed in accordance with international standards and that made it easier to get the required permits, although it took a long time.

It helped to put marina development on the radar of the authorities, with the result that berthing and mooring will also become regulated, which is expected to offer more opportunities rather than restrictions.

Building marinas and infrastructure for yachting is necessary for further realising its potential. The reason I became Area Director for Marinetek in Southeast Asia is to help build strong, safe and durable marinas.

REGULATORY FRAMEWORK

For yachts under the Vietnam flag, as well as those under foreign flags, operating requirements will contribute to the professionalisation of yachting operations and increase the standards and quality of services.

For our charter fleet, we bought a 36ft catamaran in Hong Kong in 2010 and sailed it to Vietnam under a Hong Kong flag. When we arrived in Vietnam and registered the boat there, I could no longer skipper so I often joined as a passenger to watch my Vietnamese captain operate the boat.

Luckily, we had a good team of smart young guys and girls who became capable sailors in a relatively short time, as we chartered over 300 days a year.

RESPONSIBLE YACHTING

This will probably become some sort of Code of Conduct for yacht owners, crew and passengers that is a helpful tool in a country where yachting does not have the same historical background as somewhere in Europe. It should lead to a safe, clean and pleasant environment, where everyone can enjoy yachting at its best in a unique yachting destination in Asia.

It has taken 15 years for this breakthrough in the development of yachting in Vietnam to finally happen after years of pioneering and challenging entrepreneurship in this sector.

Over the last few years, several professional yacht dealers and brokers have been established, more and bigger boats are being sold, more crew are being trained, and more mooring and berthing facilities are being built. Having a long-term vision for success makes a sustainable foundation for Vietnam to paint its contours on the map.

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RUURD VAN PUTTEN

Moving from the Netherlands to Vietnam in 2007, Van Putten has over 30 years of yachting and marina industry experience. A pioneer and entrepreneur in this emerging market, he founded the country’s first yacht sales, charter and management company and consultancy to provide expertise for marinas, yacht clubs and management. In 2021, he became Southeast Asia Area Director for Marinetek, a marina and floating solutions specialist.

This article was first seen on YachtStyle.com.

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Cinematic Comeback

After nearly two decades, the beloved 2006 comedy-drama The Devil Wears Prada is set to return with a sequel in 2026. Disney is currently developing the follow-up movie, with original screenwriter Aline Brosh McKenna and director David Frankel on board. The first film followed aspiring journalist Andrea “Andy” Sachs — played by Anne Hathaway — who unexpectedly lands a job at the fictional luxury fashion magazine Runway. Despite her lack of industry knowledge, Andy chooses to endure the relentless demands of editor-in-chief Miranda Priestly (Meryl Streep) and her sharp-tongued assistant Emily Charlton (Emily Blunt). As Andy transforms — in both style and commitment — the job begins to take a toll on her personal life.

The original Devil Wears Prada film was adapted from Lauren Weisberger’s bestselling novel, which was widely believed to draw from her real-life experiences working under Anna Wintour at Vogue. However, the book faced sharp criticism from within the fashion industry — Vogue editor Kate Betts notably wrote in The New York Times in April 2003, “Andrea is just as much a snob as the snobs she is thrown in with.” The novel was seen by many as a thinly veiled portrayal of Weisberger herself as Andrea “Andy” Sachs, and Anna Wintour as the formidable Miranda Priestly. Despite its critics, the film was a box office triumph, grossing USD 326 million worldwide and securing its legacy as a cultural classic — one that resonated far beyond fashion circles.

Beyond the sartorial standouts, the film resonated for its portrayal of self-image, professional sacrifice and the tension between ambition and authenticity — striking a cultural chord with audiences across a range of professional backgrounds.

The Sequel

The sequel will not follow the follow-up novel, which was said to pick up ten years after Andy Sachs’ original foray into the fashion world, with the launch of a luxury bridal magazine alongside Emily Charlton. Instead, the film’s sequel is set to take a fresh direction around editor-in-chief Miranda Priestly as she grapples with her role in a rapidly changing media industry and the decline of traditional print publishing. 

Fuelled by its enduring popularity, the long-awaited sequel will see the return of several beloved characters to the silver screen. Meryl Streep reprises her Oscar-nominated role as Miranda Priestly, the formidable editor-in-chief of Runway magazine, complete with the sharp wit and steely expressions that became hallmarks of the character.

Anne Hathaway is also set to return as Andy Sachs, despite previously expressing doubts about a sequel in a 2024 interview. She reflected on how the digital age has reshaped fashion and media, remarking, “It would just be very different.” The original 2006 film captured a pre-digital era when print magazines still reigned supreme, before the industry’s full pivot to digital platforms. “Maybe me, Stanley, Emily, Meryl, Dave Frankel, Patricia Field… we should just all do something else together. That’d be fun,” she mused.

Emily Blunt — who played Andy’s sharp-tongued colleague Emily Charlton — coyly teased her involvement when asked about production timing, offering only the word “July.” Meanwhile, Stanley Tucci — beloved for his portrayal of Nigel Kipling, Andy’s onscreen mentor and stylistic guide — has not yet confirmed his return, though fan excitement around his potential appearance remains high.

The Rumoured Plot

While official plot details remain under wraps, early reports suggest the sequel will explore Miranda Priestly’s struggle amid the decline of traditional magazine publishing. Meryl Streep’s character is said to face off against Emily Charlton — played by Emily Blunt — who has ascended to a powerful role at a luxury advertising firm, reversing the hierarchical dynamic that once defined their relationship.

Whether the sequel can replicate the original film’s cultural impact remains uncertain. The 2006 release, though exaggerated for effect, cleverly reinforced — and at times skewered — prevailing stereotypes of the fashion industry, offering a sharply satirical yet recognisable glimpse into its cutthroat work culture.

In contrast, the sequel appears poised to lean more heavily into fictional narrative, potentially moving away from the grounded realism that gave the original its resonance. Much speculation surrounds how audiences will respond to the rumoured shift in power between Miranda and Emily. While such a development could reflect a natural evolution in character arcs, it may not deliver the same compelling tension that defined the original. After all, much of the first film’s enduring appeal hinged on Streep’s commanding performance as Miranda — the titular “devil” — whose icy authority anchored the story. Elevating Emily to the top could risk diluting that dynamic, leaving audiences to wonder whether the magic can strike twice.

Read More: Chanel Helps To Bring Singapore Filmmaker Eric Khoo’s ‘Spirit World’ To Life

Fashion insiders — particularly those in media and publishing — will certainly be intrigued to see how the sequel navigates the evolving relationship between editorial and brand advertising. One of the most prominent scenes from the original film — in which Miranda Priestly effortlessly deconstructs the significance of two seemingly identical belts while Andy laughs in naïveté — remains a masterclass in asserting authority and industry insight. It also underscores Miranda’s ability to command the room at will, a reflection of the editorial powerhouses that once defined the pre-digital media era.

Miranda’s portrayal of an editor-in-chief in 2006 reflected an era when editors exercised full creative control — curating fashion pages and editorial shoots based largely on personal vision and directional taste. In contrast, today’s landscape is increasingly dictated by brand influence, with commercial partners often holding the final say over what makes it to print — and what ends up shelved.

This shift mirrors broader changes in the industry. Notably, Anna Wintour recently announced her departure as editor-in-chief of Vogue US after 37 years, choosing instead to focus on her role as chief content officer across Condé Nast. Her transition underscores how the editor-in-chief position — once the highest creative authority — has evolved into a more complex, corporate-facing role shaped by brand strategy and cross-platform priorities.

The Real-Life Links

Though the sequel is not officially tied to real-world events, its storyline arrives at a fitting moment — particularly as Vogue’s longtime editor-in-chief Anna Wintour steps aside after 37 years. Wintour’s shift to focus solely on her role as chief content officer across Condé Nast underscores how dramatically the fashion media landscape has evolved — and how the once all-powerful editor-in-chief has become more of a “corporate steward” than “creative gatekeeper”.

Wintour has long personified the editorial authority that Miranda Priestly — The Devil Wears Prada’s fictional editor-in-chief — so thoroughly represented. Her legacy marks the end of an era when magazine editors held unrivalled influence — curating fashion, shaping trends and controlling cultural access from behind closed doors.

By contrast, the modern industry is driven by digital ecosystems and influencer culture — where social media, not magazine mastheads, defines the front row. In 2006, brands looked to editors like Wintour to validate collections and steer public taste. Today, that power has diffused, with content creators and online platforms reshaping the rules of influence.

As anticipation builds for the upcoming sequel, it is hard to ignore how these real-world shifts mirror the film’s potential themes. If The Devil Wears Prada once captured the old guard’s control, its sequel may well reflect the new world where prestige and visibility are increasingly negotiated in the digital domain.

Check out the teaser below:

The Devil Wears Prada 2 is set to be screened by May 2026.

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A new hardcore Bentley is said to be in the works. In fact, a prototype of what could be the next Continental Supersports was spotted last month. Since then, the rumour mill has been brewing.

We’ve also heard some juicy details about the Continental Supersports that we’d like to share with you.

We know that the new model will feature an aggressive exterior. Spy images have revealed reprofiled headlamps, a sporty front bumper with small dive planes and a more prominent splitter.

It is said that the car will come with a new titanium exhaust and a carbon fibre rear wing. The car is also expected to get new lightweight front seats.

Speaking of weight, rumours suggest that the new Supersports could be approximately 100 kg lighter than the standard Continental GT Speed.

Interestingly, the Supersports may not be the most powerful model in Bentley’s lineup. However, its weight, or a lack thereof, will be its biggest USP. As per the latest rumours, it might use a pure V8 engine instead of the plug-in hybrid that powers the Continental GT Speed.