I'm always interested in collaborating with designers. I love Gaultier. I know that's kind of a high hope!
There are not many designers who are truly creative and literate. Most are self-indulgent, illiterate, fashion-mongering, service people trying to bridge a message between a product and an audience.
3 requirements for a good designer: 1. genuine knowledge and love of great design. 2. sound knowledge of principles and techniques of communication. 3. heart (passion).
To be a good designer, you would need to have deep and far-reaching interests outside of the profession.
Designers devote their efforts to change.
As designers, we are the interface. Trying to make things understandable. That requires involving oneself with what's going on in the world. One must understand what people are, what they're up to, what they care about, how they feel.
Designers shouldn't aim to control, but to enable.
The products we design are going to be ridden in, sat upon, looked at, talked into, activated, operated, or in some way used by people individually or en masse. If the point of contact between the product and the people becomes a point of friction, then the industrial designer has failed. If, on the other hand, people are made safer, more comfortable, more eager to purchase, more efficient-or just plain happier-the industrial designer has succeeded.
No manufacturer, from General Motors to the Little Lulu Novelty Company, would think of putting a product on the market without benefit of a designer.
These days, information is a commodity being sold. And designers-including the newly defined subset of information designers and information architects-have a responsible role to play. We are interpreters, not merely translators, between sender and receiver. What we say and how we say it makes a difference. If we want to speak to people, we need to know their language. In order to design for understanding, we need to understand design.
As a young designer explained to me bluntly: "Everyone upstairs is dumb," referring to the floor above the engineering lair at the 156 University office where customer support, administrators and salespeople sat. My first impulse was to laugh at his ridiculous, blithe dismissiveness, until I realized that it wasn't very funny.
I was on a Japanese designers' pedestal - considered a maestro. My design was getting closer to a couturier's work, and I felt like I was missing something.
I do feel that I'm talking to someone who's in a totally different place from where I was when I started modeling. I was fortunate enough to have the wonderful designers and amazing photographers around me, and editors that I knew, and if I wanted to ask a question, I asked them. So that gap has broadened a bit.
As a designer, you always take facets of different people and you mix them together with your own thoughts and information and creativity and passion.
I feel like I'm a designer, not a pop star. But if certain people think of me like a pop star, then the only thing I could do about this is dye my hair black and cut it short maybe.
We, as designers, have a job with so many possibilities and connections. We are connected to so many different portals, from art to movies to music to design. Fashion is always evolving. Actually, the field is huge. I don't think there is another profession that is so open to so many possibilities.
To become a painter or a sculptor or a graphic designer is quite an isolated way to spend your life.
You don't have that much choice in your life, which is one of the big lessons I've learned. I was going to be a designer whether I wanted to be a designer or not. So there I was.
Imagine what our culture would be like if Americans sold ideas, words, and books with the same creativity we use to sell designer jeans, shampoo, and rock stars. Why, we might end up with people whos attention span for the printed word is longer than the time it takes to read a T-shirt.
I don't aestheticize anything. I don't even use lights. The working girls do one thing all day: They make themselves pretty. That's their job and their money. In a way, I had the best makeup artists, hairdressers, and art designers in the world.
Detroit is an urban hell. But even in this city of the dying auto industry, there is reason to hope, if they manage to combine the creative forces of designers and other intellectual "suppliers" in other ways.
I have been called an eco-designer simply because I use wood. But I am not an eco-designer, nor does the use of wood make me one. I am a designer who cares about the effect of what I do, and about making good things for people to keep and cherish - that, surely, is simply the basic condition for 'good design'?
I have always been fascinated by structure and by exploring its possibilities. Throughout my life as a designer and maker, my structures have progressively become lighter and lighter, to the point now where I wonder how I can just sell the idea without any physical form. This seems to parallel human development where, as our bodies age, physicality is replaced by conceptualising and spirituality.
It is not coincidence that makes a designer but his continuity. And continuity means working and searching, working and fighting, working and finding, finding and seeing, seeing and communicating, and again working and searching. Designers must challenge the past, must challenge the present, must challenge the future; but first of all, designers must be true to themselves. Design is attitude.
There are three things you need to do as a CEO-founder. Think strategically, drive design, and drive technology. Some people who are really good at one can build a pretty foundational company. Most people who are very successful are good at two. But Jack is the only person in the Valley I've met who's all three. He's a first-rate strategist, a first-rate designer, and a first-rate technologist.
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