Through our community-curated platform for visual culture, we started observing a range of trends about thirty months ago. penccil is especially suited to an investigation into the creative industries as it is a global, user-curated platform, reflecting trends in design, architecture and the arts in realtime. Within these thirty months, we have have seen several dominant trends declining and new trends emerging.
Despite the global economic slowdown, design and art are as dynamic forms of expression as ever. The global slowdown did not impede the emergence of new design trends; just the opposite, we see a great variety of new approaches emerging.
However, the global slowdown is having an effect on the relationship between companies and designers. There is less interaction between corporations and designers, and more independent design production. The reason: Many corporate design departments, previously the vanguard of advanced design output, have been hit by slowing growth.
Products which created new growth markets by answering unmet needs – Sony’s Walkman in the eighties, Apple’s iPhone in the 2000’s – have reached ‘dominant design’ status where each new model sees only minor alterations. The smartphone market is a case in point. Previously a growth engine for companies such as HTC and Samsung, it is now a contested market where products have reached such a level of sameness that just a low price point can change the entire market – China’s Xiaomi is the premier example.
As a result, corporate design departments are innovating less, and hence exert less influence on the development of the design profession as a whole. Therefore we see more and more designers working outside of the corporate system, and more and more design products manufactured by designers themselves within new models of cooperation, production and sales.
There is also another change happening: The old systems of bringing creative production to the public are changing, giving way to new, more dynamic models.
It was once the role of curators and art editors to “sieve” through the work of designers and artists and to select the ones they found worthy of presenting. Creative practitioners which did not get “picked up” remained unknown. This system was dominated by a few gatekeepers whose likes and dislikes could make and break a creative career. To give just one example: Jean-Michel Basquiat, now considered a prime figure of American modern art, was notoriously ignored by the curators of his time.
penccil removes the barrier of entry for creative practitioners and curators alike. Taking the the individually curated blog a step further, in penccil everyone becomes a curator. We see creative practitioners, gallery owners, collectors and curators showcasing acutely relevant work.
The web disintermediates the gatekeeping systems behind the creative industries. The traditional roles of museums, publishers and curators are changing. Curators are not gatekeepers any more. They become mediators in between creative production, physical or virtual exhibition spaces, and new audiences. The increase in temporary, nearly improvised events – design days, art fairs, maker gatherings – confirms this trend.
“Making it” in the design and art worlds is now much less depending on traditional gatekeeping systems. We see many young designers who consider a presence on online platforms more important than other forms of presence, such as in galleries and museums.
The web has changed the creator-curator relationship also on the curating side: We see curators and editors turning to web platforms to find new talent.
Traditional systems of bringing creative output to markets and audiences are being reshuffled. By way of introducing more variety, reducing barriers to entry and enabling new forms of getting known, the web has added new dynamics to the creative industries despite the global economic slowdown.
In governments, funding for creative practitioners often depends on assessments of the quality of their work, bound to old systems depending on curator-gatekeepers and exposure in museums. As these models are becoming increasingly outmoded, funding mechanisms will need to change to reflect the actual value of creative work in the light of the new dynamics of creative careers.
For companies, understanding and implementing the look and feel of the times has become a vital skill. Today, ceative practitioners are creating the trends which are the lifeblood for companies tomorrow. However, corporate design or marketing departments and the creative industries and its dynamics are increasingly disconnected, making it harder for companies to understand what is happening “out there”.
It is reassuring that the creative industries are getting more dynamic, even in times of economic slowdown. Now companies and governments need to understand and act upon these new dynamics.