he world emerged profoundly altered from the First World War, and many shipping companies struggled to resume operations amidst a drastically changed landscape. The wealthy, stereotypical nobility was replaced by the "middle class," which became the new reference point for Western society.
In the 1920s, the United States closed its borders to new immigrants, cutting off the primary source of revenue for shipowners. However, this also led to the creation of a new type of passenger: the transatlantic tourist. Many American soldiers wanted to return with their families to the Old World, where they had fought and where their ancestors often originated. This gave rise to a tourist class aimed at the American middle class, while primary migration flows shifted towards Central America, Latin America, and Australia.
The term "cruise" did not yet have its modern meaning; in the 1920s, people spoke of "pleasure trips" to distinguish them from regular line voyages.
These years also saw the beginnings of women's emancipation, which originated in American colleges. Women could finally wear swimsuits or play sports in public, expressing a newfound freedom that began to gain traction as one of the favourite subjects for graphic artists illustrating sea travel. Many famous names dedicated themselves to this task: Gino Boccasile, Marcello Dudovich, Lucio Fontana, Giovanni Patrone, Antonio Quaiatti, Filippo Romoli, Giorgio Settala...
Their job was to introduce the public to the first Italian transatlantic giants, conceived before the Great War but entering service only in the 1920s: Conte Rosso, Conte Verde, Giulio Cesare, Duilio, Esperia... Even larger and more modern ships would enter service a few years later.
It was also the era of motor ships. The diesel engine became a viable alternative to steam propulsion. Saturnia and Vulcania, built in Monfalcone between 1925 and 1928, were equipped with internal combustion engines and offered a new type of liner, less fast but much simpler and cheaper to operate. They were distinct from steamships because they produced little smoke, which ceased to be a symbol of power associated with large ocean liners.