The current economic climate will have brought the realisation to many that excessive consumption is an endless cycle, and that it is wiser to limit consumption for things that we may want and focus on those we need.
Consumers, in general, are “tightening their belts”, as are companies and we as designers must be astute to this. Loss of capital has made many feel doubts about the future and what it may hold in store.
In order for businesses to survive, they must in some way maintain a flow of capital, a problem in a market where consumers are being more choosey in where they invest their money. Not only this, but business overheads can cause problems too, and if the cash flow is too tight it can be make or break for the company.
Many would be tempted to drop or lessen their marketing and communications efforts, but research suggests this would be a mistake. Instead, the application of clever marketing strategies should be priority, and as Jamie Bratslavsky, Product Coordinator for Stratogistics Inc, states “Design can also change the pathway of spendings by introducing "recession-friendly" alternatives (which can or may not be any different than if it were not during a recession) to the crisis, playing on consumer psychology by having them feel that they are getting more bang for their buck.”
The idea is for companies to maintain a brand image that is perceived to be affordable and valuable. This could be done by offering a range of more affordable products or services, or by creating good quality products that will be likely to outlast alternatives, competitors and trends.
An article from the New York Times, named “Design Loves a Recession” suggests that the future for designers during this period is to continue being creative, but to be less capitalist and more humanitarian in their approach, which this author personally agrees with.
“Will today’s designers rise to the occasion? ‘What designers do really well is work within constraints, work with what they have,’ said Paola Antonelli, senior curator of architecture and design at the Museum of Modern Art. ‘This might be the time when designers can really do their job, and do it in a humanistic spirit.’”
Leading designer Tom Dixon has recently released a new range for Milan furniture fair, themed with “Utility”, showing a drastic change in mentality, where previous products were seen to be more “throne – like”. It would seem that his sensibility has influenced his creativity in preparation for the hard times the future may hold until the economic downturn blows over.
For an example and comparison of Tom Dixon’s work, look to:
Function is of great importance, the product must function so efficiently that consumers will actually enjoy using it, and build an emotional relationship with it. We must not forget, however, the importance of form, and aesthetics must be treated like a function throughout designing the product, as the appearance plays a major part in its sale and relationship with the user.
If people form a psychological connection with a product, and it continues to satisfy their motivational needs regularly, it will likely be frequently used, and kept for a longer duration, thus combating excessive consumerism and the throw away culture so common at present.
Consumers, in general, are “tightening their belts”, as are companies and we as designers must be astute to this. Loss of capital has made many feel doubts about the future and what it may hold in store.
In order for businesses to survive, they must in some way maintain a flow of capital, a problem in a market where consumers are being more choosey in where they invest their money. Not only this, but business overheads can cause problems too, and if the cash flow is too tight it can be make or break for the company.
Many would be tempted to drop or lessen their marketing and communications efforts, but research suggests this would be a mistake. Instead, the application of clever marketing strategies should be priority, and as Jamie Bratslavsky, Product Coordinator for Stratogistics Inc, states “Design can also change the pathway of spendings by introducing "recession-friendly" alternatives (which can or may not be any different than if it were not during a recession) to the crisis, playing on consumer psychology by having them feel that they are getting more bang for their buck.”
The idea is for companies to maintain a brand image that is perceived to be affordable and valuable. This could be done by offering a range of more affordable products or services, or by creating good quality products that will be likely to outlast alternatives, competitors and trends.
An article from the New York Times, named “Design Loves a Recession” suggests that the future for designers during this period is to continue being creative, but to be less capitalist and more humanitarian in their approach, which this author personally agrees with.
“Will today’s designers rise to the occasion? ‘What designers do really well is work within constraints, work with what they have,’ said Paola Antonelli, senior curator of architecture and design at the Museum of Modern Art. ‘This might be the time when designers can really do their job, and do it in a humanistic spirit.’”
Leading designer Tom Dixon has recently released a new range for Milan furniture fair, themed with “Utility”, showing a drastic change in mentality, where previous products were seen to be more “throne – like”. It would seem that his sensibility has influenced his creativity in preparation for the hard times the future may hold until the economic downturn blows over.
For an example and comparison of Tom Dixon’s work, look to:
In the author’s opinion, the future will involve the design of products that people will perceive to be affordable, yet high quality, functional and which will still appeal aesthetically to the consumer. In order for designers to succeed throughout the current economic crisis we must design more sensibly, sustainably, and with the user in mind.
Function is of great importance, the product must function so efficiently that consumers will actually enjoy using it, and build an emotional relationship with it. We must not forget, however, the importance of form, and aesthetics must be treated like a function throughout designing the product, as the appearance plays a major part in its sale and relationship with the user.
If people form a psychological connection with a product, and it continues to satisfy their motivational needs regularly, it will likely be frequently used, and kept for a longer duration, thus combating excessive consumerism and the throw away culture so common at present.
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