Making a Pennant for Champagne: A Small Detail with a Great Deal of Character
Modern racing boats are usually identified by the numbers and symbols displayed on their sails. That works perfectly well while the sails are hoisted, but once the boat is moored, stored ashore or photographed without her rig fully set, much of that identity disappears.
Champagne, our Thames A-Rater, is not simply another modern racing dinghy. She belongs to a class with a long history, a distinctive appearance and a strong connection to traditional river sailing. A boat with that sort of character deserves something more personal than a number alone.
That is why one of our latest projects at Philip M Russell Ltd is to design and make a pennant for Champagne.
It may be a relatively small piece of fabric, but it has the potential to add identity, colour and a sense of tradition whenever the sails are not raised.
Why Make a Pennant at All?
A pennant is easy to dismiss as decoration. It does not make the boat faster, repair the hull or improve the rigging. However, boats are rarely valued purely as functional objects.
Their names, colours, insignia and small personal details are part of what makes each one memorable.
When Champagne is sailing, her size, elegant hull and distinctive rig make her immediately recognisable. When she is sitting in the boat park under a cover, moored alongside the clubhouse or being prepared before a race, her identity is less obvious.
A pennant could help to change that.
It would give Champagne a visible symbol that could be flown while she is ashore, displayed when the sails are down and included in photographs and restoration videos. It would also provide another connection between the boat’s traditional background and the modern work being carried out to restore, promote and document her.
For me, this is part of the pleasure of the project. Restoring an old boat is not only about filling scratches, repairing fittings and applying varnish. It is also about understanding the boat’s personality and deciding how that personality should be presented.
Starting with the Shape
The first design decision is the shape of the pennant.
A traditional long triangular pennant would immediately suggest sailing heritage. It would move well in a light breeze and look elegant when attached to a short flagstaff or suitable part of the rig.
However, the proportions need careful thought.
If it is too short and broad, it could look more like a small flag than a pennant. If it is too long and narrow, the design may become difficult to see and the tip may wear rapidly as it flutters.
A practical starting point would be to produce several paper templates at full size. These could be temporarily positioned on Champagne and photographed from different distances.
This would answer several useful questions:
Does the pennant look balanced against the length of the hull?
Can the design be recognised from the riverbank?
Does it appear elegant or oversized?
Will it still look good when there is little wind?
Is there enough room for a logo without making the design feel crowded?
A design can look excellent on a computer screen but completely wrong when placed beside a real boat. Testing at full scale is therefore an important part of the process.
Choosing Colours That Belong to Champagne
Champagne already has a developing visual identity built around blue, gold and the imagery connected with her name.
These colours could work extremely well on a pennant.
A deep blue background would have a traditional nautical feel and would contrast strongly with gold lettering or a simplified gold logo. Alternatively, a gold or cream field with blue details might appear brighter, although it could show dirt more quickly.
Visibility also matters.
A pennant must be recognisable against several different backgrounds:
blue or grey water;
green trees along the Thames;
a pale or overcast sky;
the darker surroundings of a boat park;
the white or coloured surfaces of nearby sails and covers.
Strong contrast will be more effective than subtle shades. Fine lines, delicate gradients and small text may look attractive in a digital design but disappear completely when the pennant is viewed from the riverbank.
The best solution may be a limited palette: one dominant background colour, one strong contrasting colour and perhaps a small amount of white or cream to separate the main elements.
Creating a Logo That Can Be Seen
Champagne’s name naturally suggests several possible images: a bottle, a cork, bubbles, a glass or a stylised letter C.
The danger is trying to include too much.
A pennant is not a poster. It needs to communicate quickly, often while moving in the wind. A detailed illustration of a champagne bottle might work on a large sign, but it could become an indistinct shape on a small piece of fabric.
A simplified logo is likely to be more successful.
One possibility would be a gold bottle silhouette angled slightly upwards, with a small trail of bubbles forming the letter C. Another would be a bold monogram combining the initial C with the outline of an A-Rater sail. A third approach would use Champagne’s name in a suitably traditional typeface with one small bottle or bubble symbol.
Whichever design is chosen, it needs to pass a simple test: can it still be recognised when viewed as a small thumbnail?
That matters not only on the river but also online. Photographs and videos are often viewed on mobile phones, where small details quickly disappear.
Traditional Style or Modern Branding?
One of the most interesting parts of this project is finding the right balance between tradition and modern branding.
Champagne is an older boat with a strong connection to Thames sailing history. A very modern corporate logo could look out of place. At the same time, an imitation Victorian design might feel artificial if it is overloaded with decorative flourishes.
The aim should not be to create a museum replica. It should be to produce something that feels appropriate to the boat.
A traditional shape, restrained colour scheme and clear emblem could provide the historical character. Modern production methods could then ensure accurate cutting, durable stitching and a professional finish.
This combination reflects the wider restoration project. We are preserving the appearance and spirit of the boat while using modern tools, materials, cameras and workshop equipment to support the work.
Tradition and technology do not have to compete. Used carefully, modern equipment can help traditional objects survive and remain relevant.
Selecting the Right Fabric
The choice of fabric will affect almost every other part of the project.
The pennant needs to be light enough to move in a gentle breeze but strong enough to survive repeated flapping. It must tolerate sunlight, rain, damp conditions and occasional contact with the boat or rigging.
A lightweight woven synthetic fabric may offer a good balance of durability and movement. A heavier fabric could hold embroidery well but may hang limply in light winds. A very thin flag fabric would fly beautifully but might not support a dense embroidered design without puckering.
Before making the final version, it would be sensible to create small test pieces using several possible materials.
These samples could be checked for:
resistance to fraying;
colour quality;
ease of cutting;
response to embroidery;
suitability for heat-applied vinyl;
behaviour when wet;
movement in light wind;
strength around the attachment points.
Testing may appear to slow the project down, but it usually prevents wasted material and disappointing results.
Embroidery, Appliqué or Printed Vinyl?
There are several possible ways to add the design.
Machine Embroidery
Embroidery would give the pennant a high-quality, traditional appearance. It would also fit well with the machine embroidery work already being undertaken for Champagne clothing and other company projects.
However, embroidery introduces additional weight and stiffness. A dense design could distort lightweight fabric or prevent the pennant from moving naturally.
The solution may be to use a simplified design with relatively open stitching rather than a large, heavily filled area.
Appliqué
Appliqué would involve cutting the main logo from a second fabric and stitching it onto the pennant.
This could create bold shapes without the density of full embroidery. It would also allow the gold and blue areas to remain vivid and clearly defined.
The edges would need to be carefully secured, particularly because a pennant experiences continuous movement.
Heat-Applied Vinyl
Heat-transfer vinyl would allow highly accurate shapes and could be cut using equipment such as a ScanNCut machine.
It would be quick to apply and excellent for testing different designs. However, its long-term performance would depend on the fabric, temperature settings and repeated outdoor exposure.
The project may ultimately use a combination of methods: vinyl for an early prototype, followed by embroidery or appliqué for the finished pennant.
Stitching and Edge Protection
The outer edges will experience more stress than almost any other part of the pennant.
A simple cut edge would soon fray. The fabric therefore needs to be hemmed, folded or bound. The pointed end deserves particular attention because it will be subjected to rapid movement whenever the wind increases.
A double-folded hem could provide a neat finish, while binding tape might offer additional reinforcement. The hoist edge, where the pennant is attached, should be stronger than the rest of the fabric.
This edge could include:
reinforced webbing;
a fabric sleeve;
small loops;
eyelets;
ties;
a short halyard arrangement.
The attachment system should be secure without looking unnecessarily heavy.
It must also be easy to remove. There will be times when the pennant needs to be taken down before towing, covering the boat or leaving her exposed to poor weather.
Designing for Both Sides
A pennant is viewed from both directions.
This creates a potential problem if lettering is used. A name applied to only one side will appear reversed from the other. A double-sided design solves this, but it also adds weight and complexity.
A symmetrical emblem may be the simplest answer. A bottle silhouette, monogram or bubble design could work equally well from either side. If the full name is included, two separate outer layers may be needed so that the lettering reads correctly on both sides.
This is another reason to prototype before committing to the final stitching.
Thinking About Photographs and Video
Champagne is not only being restored and sailed; the project is also being documented.
That means the pennant needs to work through a camera lens as well as in person.
A successful design could appear in:
restoration photographs;
YouTube videos;
short social media clips;
images taken from the Whaly camera boat;
race-day preparation footage;
photographs of Champagne under her new cover;
promotional material for the boat and the company.
Movement is especially valuable on video. Even when the boat is stationary, a pennant lifting and fluttering in the breeze can bring life to the scene.
It can also become a useful visual transition. A close-up of the pennant moving in the wind could introduce a video, separate sections of a restoration film or provide a recognisable final shot.
For this reason, the design should avoid very small text and intricate details. Strong shapes, clear colours and a recognisable outline will work far better on screen.
Making the First Prototype
The first version does not need to be perfect.
A prototype could be made from inexpensive fabric and produced using a simplified logo. Its purpose would be to test size, movement, attachment and visibility.
The process could include:
Drawing several possible shapes.
Printing full-size paper templates.
Testing them against the boat.
Cutting a trial version from inexpensive fabric.
Applying a temporary logo.
Flying it in light and moderate wind.
Photographing it from the bank and from another boat.
Checking how it appears on video.
Adjusting the proportions before making the final version.
This practical process is far more useful than trying to make every decision on a computer.
The river, the wind and the boat herself will reveal whether the design works.
More Than a Decorative Project
Making a pennant brings together many different skills.
It involves graphic design, colour selection, fabric choice, machine embroidery, cutting, sewing, practical testing, photography and video production. It is exactly the sort of small multidisciplinary project that suits the work of Philip M Russell Ltd.
It also demonstrates something important about making and restoration: the smallest projects can often involve the widest range of decisions.
The finished object may be simple, but reaching the right design requires thought, experimentation and a willingness to make prototypes.
Giving Champagne Her Identity
A pennant will not change Champagne’s performance on the water. It will not replace the work required on her hull, rigging, sails or cover.
What it will do is give her another visible piece of identity.
When her sails are lowered, the pennant can still show who she is. When she is photographed from the bank, it can add colour and movement. When she appears in a video, it can become a recognisable symbol of the restoration project.
Most importantly, it will feel as though it belongs to the boat.
Champagne is a traditional Thames A-Rater with a name full of personality. A carefully designed pennant will connect that history with the next stage of her life.
Sometimes it is the smallest detail that finally makes a project feel complete.



