Straight Talk On American Design | Part 2

WE ASKED DOZENS OF DESIGNERS TO CRITIQUE U.S. DESIGN. THEY'RE NOT A BASHFUL BUNCH.



In the past 15 years, the U.S. market has collectively become more interested in design. But this interest is still in tandem with a demand for the right price.
Michele Caniato, Culture & Commerce, Material Connexion

What great American brands do is reconcile simplicity with complexity.
Brian Collins, Collins

It is easier to innovate more fundamentally here. Simply put, the scale of demand in this country combined with a cultural expectation that newer, different things are likely to be better than traditional, familiar things makes it much easier to experiment with new things here.
Larry Keeley, Doblin Inc.

American Design fails in a few distinct ways: It generally lacks "Design Poetry" and fails to instill Cultural values into the business world.
Gadi Amit, NewDealDesign LLC

Given our relative youth as a nation as well as our ideals of independence and freedom, if American design can be categorized as anything, it can be found in its struggle for identity. We do not have history to celebrate and so we celebrate the future: what can be versus what was.
Andrew J. Razeghi, Northwestern University

America isn't a lone ecology; that myth is no longer sustainable. America has a role to fill in the world, but it is just a team member now.
Graham Button, Genesis

Design today is all about creating the experience with a huge emphasis on making that experience easy to use and compelling.
Clive Roux, IDSA

You might argue that the "design for consumption" baton is being passed from the U.S. to China while the "design of systems" might be the big opportunity here.
Tim Brown, Ideo

It is the design of the complete system that ensures the robustness of the market: i.e., the design of the products, the process, and the business models as a complete system.
Fred Dust, Ideo

Design's DNA does not come just from the birth certificate of the designer but rather from a combination of personal history and cultural baggage.
Paola Antonelli, MoMA

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