Don’t Confuse Universal With Boring

The phrase "Less is more" has become somewhat of a cliché over the years—not because the concept itself is flawed, but due to the various ways designers have interpreted it. In striving to create products that are both universal and timeless, we’ve ironically ended up with a sea of sameness. However, it's important not to equate "universal" with "boring." Achieving true universality in design demands a highly refined intuition and a meticulous process that only a select few can master. When executed correctly, these designs resonate deeply and are appreciated by everyone.

For years, we’ve celebrated designs that are minimal and functional. However, this celebration has unintentionally birthed a new beast: boring design. The fault lies not with the designers, who are arguably among the best in history, like Charles and Ray Eames or Jasper Morrison, but with the way their work has been misrepresented by those narrating their stories.

Take the Eames Lounge Chair, for instance. To say it's made with "as little as possible" is a misinterpretation. While it’s true that the Eameses removed anything unnecessary, every element of their design is intentional. The same goes for Naoto Fukasawa, the Bouroullec brothers, Dieter Rams, and other designers whose work has been deemed "universal" over time.

The beauty of design is that each designer has their own theory, their own approach. Right or wrong, following a personal path to create something you truly believe in is the most romantic and effective way to generate something new. Whether society needs it or not will be judged by time, but every designer must do what they believe is best.

From the moment we enter design school, we're taught to "do things the right way." We're educated with concepts that are correct in an ideal world, as if we're being prepared to become creative automatons for companies that need just another idea to saturate the market. This has led to a skewed judgment system in our creative process, dictating what is considered a good idea.

But design is so much more than that. A good piece of pottery, for example, involves far more than just ergonomic handles and appropriate weight. There are instinctive qualities and emotions that we, as designers, tap into—qualities that can make a simple ceramic piece stand out. Designers who can visualize and manage these hidden aspects are the ones who truly make a difference.

The mastery of minimalism by some designers has set a high standard, but it was never intended to be a universal rule for all to follow. Unfortunately, the constant imitation of these styles has led to the rise of what I call "contemporary shit"—cheap, mass-produced imitations sold by online retailers. These products dilute the value of well-executed minimalist designs, making it hard for the average person to discern the difference between an authentic Scandinavian wooden chair and a low-cost knockoff. Brand affiliation has become a way to guarantee quality, but this is a privilege only a few can afford.

One remedy for this situation is education. Spreading knowledge about what constitutes good design is crucial. This isn’t just for the general public; industry professionals also need to be more aware of what’s happening. Designers like Naoto Fukasawa offer valuable insights into design philosophy that can serve as a guide.

Again, I’m not suggesting that Fukasawa’s approach should be the definitive rule, but it's a quality perspective that deserves recognition and understanding. It’s important to grasp these concepts, not to imitate them, but to learn from them and evolve beyond them.

There are designers who aren’t minimalists at all but still embed deep thought into their projects, even if that isn’t immediately obvious—like the work of Marcantonio or some of the design operations by the late Virgil Abloh. Everything in design has a meaning, even if it's not apparent at first glance.

Take, for example, the Air Chair by Jasper Morrison. At first, it might seem like just another chair, but it’s actually the result of innovative technology that injects air into the mold, allowing for thicker, bolder lines. It’s this kind of thoughtful design that often gets overlooked in our rush to label something as merely "universal."

In conclusion, while minimalism and universality in design have their place, they should not be conflated with simplicity or, worse, dullness. True universal design is far from boring—it’s a meticulous craft that requires deep understanding, innovation, and intent. As designers and consumers alike, we must strive to look beyond the surface and appreciate the subtleties that distinguish great design from the mundane. By educating ourselves and others, we can elevate the conversation around design and ensure that quality and creativity continue to thrive.

Let me know your thoughts in comments and DM.

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