Company structures changed dramatically over the course of the last century. The structures and processes behind the production of goods evolved, and with these also the relationships of products and their users.
Three ideas for digital fashion:
Until the late 20th century, the process of design was mainly top-down: design was being made by designers, produced by manufacturers, and branded by corporations. In the 21st century, these processes of production and consumption are being rethought. The design process has to become circular.
The design process as it is usually taught and applied at the beginning of the 21st century is concerned with goals, aims and targets. It is dealing with business and industry, target groups and financial targets. It is looking at the often “wicked” problems found in all areas of life. It is, in general, working with – or trying to work with – the world, its structures and problems, including its systems, its territories, its politics and power struggles. But is this the only way the design process can be approached?
Four collections of Design Principles: “It is right that we should stand by and act on our principles; but not right to hold them in obstinate blindness, or retain them when proved to be erroneous.”
Korea’s strength in the creative industries, together with the strength of their multinational brands, is regarded as a model by other Asian countries. How did this model come about?
The Korean Ministry of Trade, Energy and Industry was at the heart of Korea’s industrial and economic development efforts. It was initially modeled after the Japanese Ministry of International Trade and Industry (Tsusho sangyo sho or MITI), Japan’s central institution for industrial policy, research, investment and development. MITI supervised and led economic policy together with the Bank of Japan, the Economic planning agency and other ministries. Created after World War II in response to Japan’s problems with rising inflation and falling productivity, MITI was a supra-institution influencing all aspects of domestic and foreign economic policy, holding close ties to Japanese companies. Its advantages were largely organizational: Instead of disconnected units with differing agendas and different layers of red tape, MITI was one integrated organization with one goal.
Since the first introduction of CAD and 3d modeling systems, code is behind most products. With generative design, the code becomes the design itself. Big data about user behaviour in combination with machine learning and adaptive production methods (Industry 4.0) will make highly personalized and adaptive design solutions the new normal. To master code, designers should be able to write it.
With the Internet of Things, the division between interaction design and industrial design is about to disappear. A designer should know how to code, prototype, and build intelligent products with embedded applications. Starting points are the Raspberry Pi, Arduino or Nanode.
Global economic, technological, social and environmental issues are getting increasingly intertwined. There are no simple solutions to complex problems. The ability to navigate complexity will be a key skill for the designer of the future.
In a world of limited resources, knowledge of recycling technologies, biodegradable materials, and the ability to design for a circular economy – by considering disassembly and recycling already during the design process – becomes increasingly important. Designers should be able not only to conceive new products, but to plan the way these products are made, unmade, and recycled. What comes around goes around.
This post was originally published in February 2014.
In his 1957 book „Mythologies“, Roland Barthes analyses the Deesse (The nickname of the Citroen DS car, “goddess” in French) as a mythical object, and plastic as a mythical material. Plastic interests him because of its transformability, the metamorphoses it contains, being able to imitate everything. He finds it remarkable that plastics are given mythical names of Greek shepherds (Polystyrene, Polyvinyl) and writes: “The public waits in a long queue in order to witness the accomplishment of the magical operation par excellence: the transmutation of matter.”
There is often something in an artifact which does not conform to the cognition and working mode of humans. Take, for instance, a glass door without handles. This door, in itself, opens and closes just as it is supposed to be. But people, searching for visual and tactile clues, for protrusions or moulds suggesting how that door is intended to be opened, have, in the absence of a clue, troubles with it. Donald Norman labeled this phenomenon “affordance”.
5 projects designed to invite reflection and critical thinking.
In 2008, HH Sheikha Moza bint Nasser wanted to explore designs for better communities in Qatar and the region: Diverse and responsible communities which would invite independent thinking and creativity. Mario Gagliardi, CEO at Qatar Foundation at the time, was tasked with providing proposals and consequently organised a workshop to explore innovative approaches to urban design which could inspire better building practices.
Concepts and assumptions determine how an organisation and its environment are seen. When plotting a course of action, managers implicitly rely on them. These concepts are the foundation for both daily decision-making and long-term planning. Once concepts are taken for granted, they are held implicitly, possibly impeding innovation efforts. Leonard and Straus found that thinking style preferences are becoming “hardwired” into brains and reinforced over years of practices and self-selection. When, in the course of an organisational change, the new outlook does not conform with held assumptions, these concepts can be the reason why people are reluctant to change.
Aristotle explained the elements in terms of what we might call sensual qualities: hot, cold, wet and dry. His main thought was that all materials are manifestations of different compositions of the elements. This idea – that the world consists of underlying elements – was fundamental in several ways. It implies that the world is not what it outwardly seems: A stone is not just a stone – it is composed of a mixture of elements which we cannot see. If the world consists of underlying elements, then materials could be transformed by changing their underlying composition.
Whoo (后), the cosmetics brand designed by Mario Gagliardi, is now Korea’s most successful luxury brand, selected by the Seoul Economic Daily in 2017 (read more about its creation). The brand exceeded 100 billion Korean Won in annual sales in 2009, 200 billion Won in 2013, 400 billion Won in 2014, 800 billion Won in 2015, and annual sales exceeded 1 trillion Won last year. Whoo’s parent company LG Household & Health Care, part of LG Group, expects the annual sales of Whoo to surge to 1.6 trillion Won (US$ 1,4 billion) in 2017, making it the best-performing Korean luxury brand in history.
Designed at a time when Western cosmetics brands dominated the Asian market with narratives of Paris and New York, the brand was revolutionary in being the first cosmetics series to focus instead on Asian culture and history.
Government policies and interventions are powerful instruments that can change social and economic realities on the large scale. However, social reality is highly complex.
Digital machines such as smartphones frame behavior and instill new cultural and social practices. ‘Liking’, ‘sharing’, ‘following’ are relational activities which have been defined by social media and established as new normal in the shaping of human relationships. The phenomenon of communication devices prompting new behaviors and expressions is not new: for instance, the word “hello” did not exist until the development of the telephone.
Companies can find that although they invest into design development, the results they get back don’t capture the hearts and minds of contemporary consumers. What can be done?