in pursuit of the design icon

8/6/2019 In Pursuit of the Design Icon

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IN PURSUIT OF THE DESIGN ICON

Selena Joy Griffith

School of Design Studies, College of Fine Arts, University of New South Wales, Sydney, NSW 2052,

Australia

[email protected]

Jens Martin Skibsted

Skibsted Ideation A/S, Skoubogade 1, 1158 Copenhagen K, Denmark, Scandinavia

[email protected]

ABSTRACT

The dream of many designers, design managers and the organizations for which they work is to produce a

product capable of attaining icon status. The benefits of this for reputation, brand and profitability are

obvious. Less obvious, however, are the factors that influence the generation of designs of this calibre.

This paper explores the anatomy of an iconic product and the factors that may impact on its ascension to

such status. Understanding these factors and addressing them in the management of design could

potentially increase the chances of creating products with iconic qualities. Considerations for design

managers including assembling the team, creating the project vision, anchoring the project, developing

the product and taking it to market, and whether the pursuit of a design icon is the right strategy will bediscussed in some detail. The interconnectedness of the project stages and the importance of parallel and

integrated activities between the development team and other functional units within the organization will

also be covered.

This paper is informed by primary research involving interviews with leading design practitioners,

managers and researchers. Selected insights from these interviews are included in the discussion alongwith descriptions of recurring themes identified by the authors. Numerous design icons from the Swiss

Army Knife to the Concord are identifies and icons are categorised from a humble masterpiece such as

the paper clip that reaches iconic status over a long period of time through its functional qualities leading

to immense popularity, to an instant icon such as the Apple iPod which becomes an icon as soon as it

hits the shelves.

The concept of denotation and connotation, where the original content disappears leaving only

connotations in the resultant icon is presented along with other vectors that may impact on the

development of design icons.

INTRODUCTION

In June 2008 one of the authors ofInstant Icon - Om produkter der skaber exceptionel vrdi og hvordan

de bliver til (Instant Icon), and a design academic met by chance. A discussion between them arose about

design in general, then more specifically design icons, the writing of the book, and the findings the

authors had made. The dialogue continued for some months and has resulted in this paper.

Many quotes, throughout this paper have been taken directly from interview transcripts for the Instant

Icon book and generously provided by its authors.

IN PURSUIT OF THE DESIGN ICON

Within design and business circles there is much discussion about the value of creating a design icon.

This can be seen in the statement made in 2006 by Geesung Choi, then chief design officer for Samsung.

We need a product that can represent Samsung and that consumers can spontaneously associate with us.

An iconic product. This was in response to the 2005 challenge of Samsung Chairman Kun-Hee Lee that


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Samsungs products must meet global premium standards. In order to do that, we must strengthencompetitiveness in soft areas, such as design and brand, and leap over emotional walls in addition to

functional and technical ones. (Freeze and Chung 2008)

The question for many companies is whether pursuing a design icon is the correct strategy, and if so how

to go about it.

HISTORICAL CONTEXT

It is very difficult to give the exact date that creative pursuits such as architecture and art and music

began. They have existed for a very long time and are mature in comparison with industrial design. Icons

in an architectural sense have existed for millennia. The Mesopotamians built ziggurats, Egyptians built

pyramids, Greeks built temples such as the Parthenon, Romans built aqueducts and colosseums.

Industrially designed, iconic products, however, are a relatively new phenomenon that we can give a

fairly exact date to. They arose with the industrial revolutions of the late 18th and early 19th centuries.

The industrial revolutions occurred when major changes in agriculture, manufacturing, production, and

transportation impacted greatly on the socio-economic and cultural landscapes in Britain then Western

Europe, North America, and eventually most of the world. (Hobsbawm, E 2003) Innovations in

manufacturing, originating in the textile industry and spreading to other industries meant mass production

became a reality and industrially designed products emerged. New innovations began to impact on almost

every aspect of daily, life and have continued to do so ever since. Most innovations originated from the

Western world, primarily Europe and the United States, giving a very western interpretation to product

design and development. It is from this pool of industrially designed product that iconic products were

born.

WHAT IS AN ICON

For the purpose of this paper, design icons are defined as products that gather a cultural meaning that is

greater than the sum of their specification. This new meaning becomes more prominent than the purpose

of the product. It lasts longer than the expected life cycle of the product. The product is then culturally

successful. It is celebrated through curation, media exposure and critical acknowledgement.

Iconic means objects that can stand the test of time. Able to live throughout trends and epochs and are

able to keep their own value and individuality, maintaining individuality far beyond the individual that

created them living a life of their own. - Marc Newson 2008

Many companies make the mistake of mixing the meaning of icon and blockbuster. Geesung Choi of

Samsung identified the need to produce an iconic product, but also stated in the same speech I think we

need to figure out what it will take to come up with something everyone in the world must have. That

would really mean we were a premium global player. Culturally successful products (icons) can become,

but are not always blockbusters that sell more than any other products and are consumed in large

quantities. It is a difficult task to produce an icon and it is equally difficult to produce a blockbuster. To

produce both together is extremely difficult. It is wonderful if this can happen but often failure occurs not

because of trying to make an icon but through trying to make a blockbuster at the same time.

COMMON CHARACTERISTICS OF ICONIC PRODUCTS

Its very difficult to put your finger on, or indeed create an equation that allows you to predict, what

makes an icon. But it is definitely due to several factors rather than a single one. - Michael Sodeau

Iconic products share a number of common characteristics that can be summarised as follows:

Connotative and denotative success

One common feature of all icons is that they succeed both connotatively and denotatively. Both the

connotative and the denotative communication of a product are therefore important and may be addressed

by different parts or individuals in the organization. If both are achieved the result is an icon.

The Connotative:

Connotation is the associated or secondary meaning a product has in addition to its explicit or primarymeaning. The product suggests or implies something beyond its features and functions. Possible

connotations of Coca Cola are freedom, individuality and democracy Marketers are concerned about

connotative messages of products as these can be leveraged to promote consumption. For example, you


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should drink Coca Cola because you are an individual or because you like the idea of freedom or becauseyou support a democratic ideology.

The Denotative:

Denotation relates to the physical attributes of the product that signify directly or literally its purpose or

function. Technical teams are focussed on the denotative. They are concerned with size, shape, materials,

number of buttons etcetera.

New Typology Creation

New typology creation occurs when denotative meaning is at its strongest. If this is in place and the

connotative meaning of the product mixes well with it then an icon is likely to result.

New typologies are quite rare, but if they are genuinely useful they represent a positive achievement. I

think they happen by chance. - Jasper Morrison 2008.

Innovation

Innovation occurs on both connotative and denotative levels. Technically and social innovation are both

important and can contribute to the element of surprise that creates new typologies. Most successful

innovation is purpose driven, addressing identified problems or opportunities.

[Icons happen] when a new idea, a new technology or/and a new typology fuse to a right product. -

Alfredo Haberli 2008.

The use of technology, especially new technological applications, create the conditions for changing the

fundamental structure of a project and give the designer the opportunity to create a completely new

image. The history of the chair is the history of the evolution of the technologies to build a chair. -

Stefano Giovannoni 2008.

Element of surprise

Products tend to evolve linearly. An element of surprise can occur when an evolutionary leap is made.

This can be related to use, function or aesthetics. It helps build the character or personality of the icon. It

can contribute to the development of a new typology of product. It is not that crucial for slow icons which

grow on people. For fast icons too much of a surprise can extend the acceptance time. Classic design

icons, because of their reliance on aesthetics, are often visually surprising.

iconic status usually comes through innovation and the shock of the new. - Tom Dixon 2008.

Individual personality / character

Iconic products tend to have their own personality or character that sets them apart from similar products

in the same genre.

Iconic is unique, it points out something that no one has done before, different from the generic.

Claesson Koivisto Rune 2008.

Remarkable aesthetic

Iconic products are usually visually distinctive. This contributes the individual personality of the product.

Most ICONS are graphically complete and instantly recognizable. - Ross Lovegrove 2008.

Cultural success / Meaning

Iconic products need to have relevance and that is brought about through cultural success or gathering of

cultural meaning. This occurs over time.

icons are those products that are representative, stand for the culture in which they are used or

located, representative of movement, religion, moment, a period of time, cultural activity Most iconic

to you are change-related. What made that stand out, it stood out because it stood for something.

Hence the significance, it is catalytic, why do they represent it, sometimes they can be catalytic for the


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cultures or movements etc. they build towards their fulfilment of their iconic status. They are central to

that movement, making it stronger. Through the success they become more iconic. Survival of the fittest,

group selection, facilitates the group in which it is located, the culture, supporting the success of the

group. - Adam Thorpe 2008.

Longevity

Truly ionic products remain so for long periods of time. Well past their prescribed lifetime and beyond

that of their creators.

Time makes the difference, somehow. An iconic product is first marked by a strong originality, unique

and innovative qualities. However, to be really iconic, it needs to last in time and history.

Design projects are somehow simple stories that have a simple logic around shapes, fabrication and

adapted use of the materials. Only their pertinence and a certain untemporality make them become

iconic. - Ronan and Erwan Bouroullec 2008.

Context / relevance

All iconic products have contextual relevance such as cultural, functional, technological, temporal or

historic. This can develop around the product as a story or lore.

There can be story or narrative related to the object, which make[s] it iconic: Like the Ferrari Daytona.

The car is actually Ferrari 365 GT/B but since it had places 1-3 in Daytona race in 1969 it became called

Daytona even though it has not ever officially been the cars name. - Ilkka Supannen 2008

An icon can only be in context of technology, social culture and the right time period Alfredo Haberli

2008

Vision

All those interviewed felt that a vision for the design is required, especially in the development of an

instant icon. This could come from the client, designer, team, organization or a design leader. It needs to

be clear and applied consistently over the project and does

In organizations where there is an entrepreneurial design leader with a vision it does not have to happen

in the design phase. If a company does not have this it is very important to have these specific

competencies in the design team.

A product without an idea is worth nothing. For an idea you need vision. For a vision you need to know

the past. - Richard Hutten 2008.

Liangnappe

Designers tend to agree that there is something resident in all iconic products that cannot be quantified or

qualified that makes them so. Something impossible to define or derive a formula for, it is best describedby the Creole term liangnappe meaning a little something extra or unexpected.

It seems that we do not really know what are the immaterial and material aspects that make products

iconic. We cannot decide one day that we make iconic design and then just do it. One could argue that it

is beyond our understanding and control. The design becomes iconic out of use and its position in the

world. - Ilkka Supannen 2008.

DIFFERENT PATHS TO ICONIC STATUS

Skibsted has identified three paths products can take to attaining iconic status (Skibsted and Aagard

2008). These are based on the time it takes for the product to attain icon status.

Democratic Icons:These could also be termed slow icons. These products take a long time to become icons. They are

usually of plain or simple design and generally functionally good and useful. Users become attached to

them over time and eventually these products gain so much meaning that they start to be built into the

stories of the users gaining cultural and connotative currency. They are accessible on a wide scale and


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become democratised. There are many good examples in Antonellis (2006) book Humble Masterpiecesand Charlote and Peter and Fiells books on design for Taschen Examples include the paper clip, tea bags,

potato peelers and the mailbox, all of which are valued for their high level of function over aesthetics.

Design Icons:

These products take about four years to attain icon status. Often they are familiar products such as chairs

or cars whose design is shape driven. Some innovation or design change is made which alters the look ofthis familiar product and the reaction of its audience is often negative. They find it looks weird. Over

time the audience adapts to the change and come to love the product for its personality; it attains cultural

relevance and becomes iconic.

How to spot the original or iconic when you do something and it looks strange, and youre not quite

sure you like it. A few years from now they will be fantastic, but they are breaking the boundaries. Ugly is

a common reaction to something that you havent seen before. - Claesson Koivisto Rune 2008.

Instant Icons:

These products become icons almost instantly. They are often familiar products or offer familiar

functions but, through innovation, extend the familiar bringing a new perspective to the product. Often

this is on the philosophical side of things, sometimes at a use level. These support a blue ocean strategy

(Kim, W.C. and Mauborgne, R 2005) for product development. They open new markets or create new

demand. Examples would be the Sony Walkman, the Blackberry, the Apple I-Mac and I-Pod and the VW

Beetle.

Fig 1. Shows some examples of products that have become icons. (Illustration by Ole Lund)

Figure 1. Iconic product silhouettes.


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THE ROLE OF THE DESIGNER IN CREATING ICONS

Many factors contribute to a product becoming iconic. These all need to occur simultaneously and it is

difficult to control all of them, especially as many are variable and impact at different stages of

realisation. Almost all the designers interviewed for Iconic Icon felt that they could not create icons. Yet

such products are created and often repeatedly by some organizations which indicates that statistically itis possible to create icons, and the environments that are more likely to produce them than others.

It would be hard for us to try to make an iconic product. It would be a hard obstacle to climb. [It] needsto happen from behind, [during] the process. You dont always succeed, because few products become

iconic, sometimes its lets make something easy or commercial but then instantly bored, [the designer]

has to add something to the process, otherwise we should not do what we are doing. - Claesson Koivisto

Rune 2008.

Designers alone cannot create iconic products as their creation does not just happen in the design phase. It

happens in a multitude of phases, such as through the company vision and in the ideation phase of the

project. Both these stages are often out of the control of the designer.

I think its naive for a designer to think that its possible to create this context only by him or herself.

There are several ingredients or collaborations that are required for a design to have this and invariably

are supplied by different people along the products development. It may be the designers job to bring

them all together and make sense of them, but invariably it is not a singular process . - Ilkka Suppanen

2008.

It is important to have very strong relationships with editors. And projects are born from those

relationships marked by confidence and common work. For example, wonderful editors like Vitra incite

us a lot in conducting research for new and free creation. In best moments, the project is borne by the

designer and the manufacturer at the same level. - Ronan and Erwan Bouroullec.

Designers of iconic products tend to use their gut feelings and have a sensibility to read trends and

establish new paradigms. They do not follow trends but are aware of them. It is a common feature of their

practice to keep abreast of what is happening, to develop strategic relationships, read situations and

respond appropriately.

Probably I would be developing and pushing the envelope technically, production wise and the designs

strategic position in consumer market. I would like to challenge the conventions in what kind of market

position [the] product should have in the market. It would be important [to] technically try to achieve

innovation. So I would start two parallel projects, 1: technology study and development, 2.

conceptualisation and "market excite" study. - Ilkka Suppanen 2008.

Three types of design abilities are needed to create an iconic product. These can come from one

individual or a team, but all are necessary.

The visionary

A philosophical designer, a design leader or design champion sees social changes and connotative game

in the world. The visionary is often an entrepreneurial character.who carries the vision of the project and

is likely to innovate conceptually.

The designer expresses through language his own poetic thoughts that recall his vision of the world.

When I speak about world vision I do not mean to limit this idea to the collocation of his own poetics

within the specific discipline. Instead I refer to a global cultural approach linked to its own socio-

economic context and must change according to developments and variations of external conditions. In

any case, the designer is a person with long antennas orientated towards understanding changes in

society and comprehending how public desires evolve. He translates these desires into objects [that]

reflect the context in which he lives a good product does not have absolute claims, but has to be an

expression of its context, with the ambition to become an icon of its own time. - Stefano Giovannoni 2008

The Technician

A technical expert concerned with the denotative aspects of the project and is likely to innovate in those

areas. Could include design engineers, technologists and scientists as well as specialist designers.

The Aesthete

The aesthete is a stylist who can create the individual character, personality and feel of the product.Concerned with both connotative and denotative aspects. They are likely to innovate on look, feel and

function aspects of the product.


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Depending on the size and structure of the organization, these abilities could be found in one individual,members of the in-house team, consultants or a mix of these.

Design Partnerships

The increasingly complex, time and resource consuming task of product development is more oftenundertaken by teams comprised of different competencies that match the challenges of the project.

Different parts of a project may be undertaken concurrently. When so many different individuals are

involved it becomes very important to be able to ensure the vision of the project is not lost.

As an industrial designer you work together and for the industry, this means there are always several

people involved. The first ideas started in my mind, in my sketchbook, then I try to understand the

intuition, the research or the idea by involving one of my assistant and start building mock-ups. this goes

for days and weeks. When I feel to be in a right level, I present to my client. This goes [on] 2-3 times from

one to the other side for 1 to 2 years. Others times, a client has a technique to propose, which is the

beginning. Or we discuss typological possibilities from the first moment on. - Alfredo Haberli 2008.

If one works with contemporary criteria then the result must be the present, and in turn, we shape the

future. So if I work with contemporary issues and criteria, such as new behaviours, new technologies,

contemporary materials, new production methods, new markets, etc. then I am working in a

contemporary context, and in turn developing design . - Karim Rashid 2008

CONTEXT, CULTURE AND ICONIC PRODUCTS

A product does not need to be ubiquitous in order to be iconic. There are many ubiquitous products that

are far from iconic and many iconic products that are only produced in minute volume. There are also

products that hold iconic status in some markets but not others. Audience is very important in raising a

product to icon status. Products tend to become iconic to particular audiences within cultural spheres.

These spheres may range from very small to immense in size. They can be dependant on many

demographic factors such as age, culture, gender, profession, interests, experience, nationality, religion

the list is endless. For example, an odour may be iconic within a particular circle of people who

experience it, such as frangipanni flowers for visitors to Tahiti. A distinct flavour may be iconic to

amateur and professional wine buffs. The mailboxes of Monaco may only be iconic to the Monegasquenationals. Shoes such as clogs or thongs may be iconic in some geographic areas but not others whereas

Birkenstocks are iconic globally.

I've been thinking about the relationship between a design and that which it serves in relation to the

generation of Iconic propensity for a design the degree to which a design will signify a movement

(cultural / political / social), a moment (temporal / experiential) or an activity (facilitory). There is a

symbiotic relationship between the endeavour a design serves, a designs effectiveness at serving it, and a

designs iconic propensity. It is a matter of design performance, public adoption and perception.

Foucault said "ideas are made and read in history" - the point I was trying to make in relation to this is

that I think "icons are made and read in history" - i.e Designs are not 'born iconic' they become iconic as

a result of their performance and adoption and that of the endeavours they serve. Designers don't 'make'

a design iconic, the [people in the] World make a design iconic through their actions (using/adopting the

design) and perceptions (valuing - or otherwise considering significant - the impact of its use) - or as

Shakespeare wrote "There is nothing either good or bad but thinking makes it so" (Hamlet). - Adam

Thorpe 2008

Design Literacy

All consumers are design literate to some degree. It is requisite to be able to choose and use products. Just

as different ethnic cultural groups use different languages to communicate verbally, different consumer

culture groups will use different visual languages to interpret the products they consume. Someindividuals and some cultures are more design literate than others. Stephen Heller (2004), in his book

Design Literacy, points out that true design literacy requires a practical and theoretical understanding of

how design is made and functions as a marketplace tool and a cultural signpost. This may explain whysome products take longer to come to icon status than others. The more design literate will discover the

icon sooner than the less literate. The broader the appeal of the product, the faster it will be read and the

sooner it will become iconic.


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ICONIC PRODUCTS

There are three scenarios that a company faces if it actually produces a design icon.

The Blockbuster

In this scenario the product is both culturally and extremely commercially successful. There is high

consumer praise and demand.

Cultural success with leverage opportunity

In this scenario the product us culturally successful but not necessarily commercially successful on itsown, It can be leveraged to promote the extended product portfolio or brand equity.

Cultural success without leverage opportunity

In this scenario the product is culturally successful but there is no opportunity to leverage off it. This may

be due to the other portfolio products being too different from the iconic product or, as in the case of the

segway - no other products in the portfolio.

These scenarios illustrate that there are both benefits and drawbacks in producing an iconic product.

Benefits of producing an Icon

Producing an iconic product can bring benefits to a company on many levels.

Marketing benefits

Having an iconic product in a portfolio may be beneficial in a number of ways. It can add to brand equity

and increase brand recognition, profile and reputation. It can assist in developing brand loyalty. It can be

leveraged to promote other products in the portfolio. Even if only 10 pieces are sold an iconic product can

enhance the whole portfolio. Developing an instant icon can position the organisation as the market leader

in a new segment or industry.

Development benefits

After developing one iconic product valuable skills and knowledge gained could be applied to developing

future products, including other icons. Since icons have a long shelf life speed to market can be reduced.

Reducing speed to market is increasingly straining for a majority of industries. For example what oncecould be developed in a 3 year cycle (to prepare and develop and launch) now could be 3 months. Unless

you are 1st or 2nd in the market there is no competitive advantage in increased speed to market because

of turning out new products is very taxing on companies with relatively limited resources.

Economic benefits

An iconic product gains great exposure though use, review and editorial, and lasts a long time. This can

reduce the need for promotional spend across the entire portfolio. One iconic product in a portfolio can

increase interest, sales and consequently revenue across the entire portfolio.

There are also broader community benefits.

Sustainability benefits

In the global market economy, thought leaders have come primarily from the cultures who led the

industrial revolutions. Generally their philosophy has been, at any given point of the value chain, to get

the maximum out of it. Consequently there has been a push for increased consumption This can be

achieved through methods such as expanding market coverage, reducing product life to promote faster

replacement, and lowering quality to achieve lower cost and promote repurchase rather than repair whichcan often be the more expensive option. Obviously this is not sustainable. In many other cultures it is

customary to maintain and repair things. Consumers will have stereos serviced and re-spring and re-

upholster their furniture. These consumers will seek classically designed, reliable, high quality products

to ensure they can have a long life. They will be prepared to pay a premium for these. Many iconic

products such as the Bang and Olufsen sound systems, Mont Blanc pens and Omega watches embody

these qualities. They are designed to last the life of the user and be passed to future generations.

Drawbacks of producing an Icon

There are also negative aspects to producing an iconic product.

Speed to market

Speed to market is often increased when trying to produce an iconic product. Unless you are 1st or 2nd in

the market it is not an advantage to you because of strain of turning out new products.


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Difficulty

Developing a design icon is a difficult thing. It may not be the best strategy for an organization. A

products success can be measured on many other levels than iconic. It is often easier and less risky to be

a follower of the competitors the first mover advantage can be a drawback as it is expensive and

resource intensive.

Expensive

Development of original products can be an expensive process. It consumes relatively more time and

resources than standardised products do. With the increased level of difficulty in producing an icon,which is not guaranteed, it may not be a risk worth taking

Increased expectations

Once an organization has produced an iconic product there is the pressure to do it again. Whilst this can

happen, it may not, and future products may be measured, unfairly, against the iconic one.

Loss of Core Focus

Pursuing an iconic product may be distracting and cause neglect of the organizations core values.

Irrelevance of iconic products

There are some scenarios where iconic products are not relevant. There is no benefit is pursuing the

development of iconic products in these instances.

B2B

In most Business to Business scenarios iconic products have not been relevant as the two parties tend

only to deal in terms of technical specifications.

High function / Low cultural relevance

Icons may never be needed in some industries where efficiency, safety, function and performance are far

more important than the designed object. Examples include factory equipment, Nuclear power plants,

surgical equipment and prosthetics.

Non industrialised marketsIconic products make sense in an industrialised culture but are not relevant outside this sphere where

scope is narrow and product development cultures are not shared.

Benchmarking Icons

Because cycles in industries vary greatly it is important that icons are only measured against or compared

with icons from within the same industry. For example, comparing lollies to passenger jets. Both may be

iconic but you need to benchmark each icon specifically within its industry.

Adopting an icon strategy

It is possible to achieve icons but not guaranteed. This may be why an iconic approach has been

embraced by only a few organizations. It needs to fit with your strategy and depends heavily on design

leadership. Eugenio Perazza sees product development as part of general expenses for Magis. (Verganti

2006) He also views it as part of company business to constantly produce new products. Statistically heshould get an icon. Iconic products are more likely to be produced by smaller, family run companies such

as Italian furniture companies. In a family run business it is more acceptable and easier to express who

you are as a designer so perhaps this is why these companies produce a higher percentage of icons. These

businesses are mostly design centred. Consultant designers are able to develop relationships with or have

access to key decision makers. Nike, Target and Apple have also built their success on design; if design is

removed they crumble. They have all had strong design visionaries. All these companies have innovativecultures, they are design led in some way. The character and personality of their product comes through

their designers being able to express themselves.

This illustrates the need for expression beyond that of pure marketing. Marketing activities exist to sell

product they aim for the blockbuster as it sells the highest volume. Pursuit of a blockbuster is the result

a conservative, risk averse, non-innovative culture. This culture does not support development of icons.

If an iconic product is desired then a product which is culturally successful should be pursued. It may sell

but it may also create a point to sell from.


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THE FUTURE OF ICONS

The future possibilities for iconic products are varied.

Simplifying Choice

Consumers have an increasing amount of products at their disposal all broadcasting messages about theircontext, use and identity. This creates noise that consumers find difficult to navigate. Iconic products

make it easier for the consumer to make choice. They become a way of handling the complexity of

modern living.

For me an icon is a representative image of a whole group of similar items or images. An iconic product

therefore also stands for a whole range of other products of the same or similar kind but is the one

product that sums it up best. - Matthias Megyeri 2008

Evolving cultures and markets

As more regions become industrialised, more design literate cultures will emerge, ready to consume

iconic design. Asian giants such as China and India will become very significant. Once their markets are

greater in size than the currently dominant Western one they will impact greatly on the cultural cues that

need to be met to create a design icon.

International cultures are also evolving. Today the worlds biggest markets are urban cities not whole

countries eg aesthetics in Sydney, Hong Kong, Singapore, London, Paris and New York, are more alike

than Sydney and Darwin, London and Bristol or Hong Kong and Xaimen. Cities are also creating their

own cultures that transcend national identity.

Sustainability

Products with extended life cycles are considered to be more sustainable. Iconic products support this as

their owners tend to service and repair them to extend their life. As such in a world demanding more

sustainable practice the iconic product makes sense.

Acknowledgements

The authors wish to thank the following people for their assistance in the process of writing this paper.Sune Aagaard, Tania Merete Christensen, Ross Griffith, Ole Lund and Christian van der Plaat.

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in pursuit of the design icon

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