HOW TO DESIGN?

Not haphazardly, and not all the time (granted, there are always exceptions to the rule). There is always an appropriate time for design, especially in a general strategic framework, and often prompted by key events: new management, competition, problems that neither the marketing nor the research and development departments can handle, the need for fresh ideas, the need for non-technological solutions to render investments profitable, the necessity of clearly recognizing differences, to register patents, to train teams, to decipher modern practices, etc. There are many times when it’s appropriate to call for design, always keeping a cool head and making sure that it remains in its proper place. You will know when you’ve reached that point: when you feel as if you need to move forward, to create something of value from an unconventional and creative point of view.

Design turns innovation into reality, which is why the two are often associated. Innovation necessitates an understanding of (and integration into) contexts that might at first seem strange to the general public. Design, in this case, is more strategic. It articulates technological, cultural, aesthetic, economical, and branding issues while still keeping universal constraints in mind. These days, designers (especially product designers, who have the most comprehensive understanding of practical and technical innovation) are sought out by creative marketing directors to usher innovation into becoming reality. They then become links in a global chain of three essential components -  technological, marketing, and branding vocabulary – without allowing them to become lost in the design process. As often happens, as much as we might want to avoid “design by designers”, it’s a fine line to walk!

Essentially, to create value. Later on, everyone can decide what “value” really means to them. It’s widely recognized that design can contribute to economic value, but this is often secondary to other values. The practical value, for example. Brand value, aesthetic value, technological value, communicative value, human value… working within your own set of requirements, it’s up to you to define value. Depending on your choice, you probably won’t end up working with the same designers.

Another, more analytic perspective might be found in Synthèse Finale, Etude Economie Design. This study of the relation between economics and design proposes four levels of design integration: no design, design as style, design as skill, and design as strategy.

Renault’s former design manager Patrick Le Quément had the habit of saying that designing the first Twingo (a revolution in automotive design) cost as much as one exterior bar on the driver’s side door, which is a pretty good metaphor for illustrating just how profitable design can be. Today it would be impossible for a corporate accountant to tell you precisely how much design improves your profit margin: there are simply too many variables to account for and some of them are entirely subjective. However, no one would dream of refuting the benefits of design for paradigms of success like Apple, Dyson or Audi, or for distributors like Decathlon, or smaller businesses like Mastrad, Lorflam, or Thuasne.

In addition to the cost of a design project, one must take into consideration what experiences the designer can bring to the table in terms of value-added strategy: internal job training, networking, patent registry, visionary innovation, reduced production cost, technology transfers, and brand promotion, to name a few. Finally, studies show that companies that have had experience with design can specify two main elements of profitability: increased profit margins and increased company fiscal worth. You can ask a lot of design, and if it is well executed it can be very profitable!