The Erosion of Design: When Copycat Competitions Prevail

Introduction:

In the age of global design and ubiquitous digital connectivity, design competitions have become commonplace. However, the exponential increase in these competitions has led to a concerning trend: a lack of originality and coherence, with the recognition of blatantly copied products. This phenomenon is detrimental to the entire design industry, undermining research, knowledge, background, and, most importantly, respect, which should be associated with such an important field for innovation and creativity. What is even more alarming is the role of magazines that should protect the "made in Italy" and those who genuinely support design and products, but instead, they elevate winners devoid of research and who merely replicate.

The Homage to Plagiarism:

One of the main problems is that many design competitions do not place adequate emphasis on originality and innovation. This has resulted in an abundance of products that are little more than imitations of past successes. Instead of rewarding creativity and daring in proposing new ideas, we often see accolades going to those who skillfully copy the work of others. This not only disrespects true creative talents but also undermines the entire concept of design as a tool for evolution and progress.

The Lack of Research and Knowledge:

The heart of design should lie in thorough research and knowledge of the problems being addressed. However, many competitions seem to completely disregard this fundamental aspect. Instead of encouraging a deep understanding of the context, target audience, and challenges to be faced, these competitions reward superficial solutions devoid of any depth. This results in products lacking meaning, functionality, and value, thereby depriving design of its primary role in society.

The Superficiality of Design Magazines:

Design magazines should be the custodians of taste and authentic values, committed to protecting the "made in Italy" and those who passionately and competently engage in design. However, it is disconcerting to see how some of these publications give ample space and recognition to designers who lack research or originality but simply resort to copying. This compromises not only the integrity of the industry but also the very image of Italy as the homeland of quality design.

Conclusion:

The existence of numerous design competitions that reward copied products and the lack of research, knowledge, and respect in this field are sources of deep concern. This phenomenon erodes the credibility of design as a discipline, undermining the crucial role it should play in promoting innovation and creativity. It is equally distressing to observe how certain design magazines, instead of protecting the "made in Italy" and supporting genuine talent, facilitate the success of designers who merely imitate without any originality. A shift is needed, where originality, research, and innovation are rewarded and safeguarded, allowing design to reclaim its position of prestige and influence in society.