Classic Design / 6.1 /
Characteristics of Classic Design
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A classic design has a timeless quality, which is recognized and remains fashionable. A classic design is not simply defined by how well it functions or its impact. Classic designs can be recognized as from their design movement/era. Yet, originality— whether it is evolutionary or revolutionary—seems to be the trait that makes a product “timeless”.
6.1.0 | Characteristics of Classic Design
6.1.0 | Characteristics of Classic Design
Classic design is characterized by its timeless appeal, enduring relevance, and ability to transcend trends. It is often simple, functional, and aesthetically pleasing, and it typically embodies the following characteristics:
Timelessness or enduring relevance: Classic designs are not bound by time or fashion. They retain their relevance and appeal regardless of the current trends or styles. Classic designs continue to be appreciated and valued for their inherent qualities, such as their functionality, aesthetics, or cultural significance. A design might even become a collectable.
Instantly recognizable or iconic: The shape, form, colour, etc., of the design, is instantly recognizable. The design is used by many people, is in people's homes, appears in media, or has come to symbolize a sub-culture, movement, or time period (iconic)
Cultural significance: Classic designs often become ingrained in popular culture, representing a particular time period, movement, or ideology.
Ubiquitous presence (aka omnipresence): Classic designs are frequently seen and recognized, becoming part of the everyday landscape and cultural fabric.
Dominant: Classic designs often set the standard for their category, becoming the benchmark against which other designs are evaluated.
Transcending obsolescence: The design may be technologically or functionally obsolete, yet it is still desirable, either as a collectable or as a status symbol. Classic designs can even increase in value over time.
Classic designs don't begin life as timeless objects. They require time to be appreciated and explored; People need to form opinions about them; A context needs to be formed around the design. In short, the design needs time to become part of our culture. Classic designs don't begin life looking classic. Rather, they are often futuristic or radically innovative for their time.
Classic designs are in a state of constant evolution. Though a design may be 40 or 50 years old, it may have evolved or changed in subtle but significant ways. Changes to the material, manufacturing process and form are necessary in order to keep the design relevant, profitable, and functional.
Understanding the factors that make a design classic can inform the design of new, innovative products. When re-designing an existing product, designers should be aware of the characteristics that make the design a classic and make changes accordingly. When designing new products, designers may use the aesthetic properties of an existing classic design to inspire their new design.
Question: Why are so many products that are considered 'classic designs' very basic goods that many people need or use?
The Coca-Cola bottle has had subtle changes over time to reflect changes in materials (glass to plastic), sizes, etc. Regardless, the "essence" of the shape remains.
The Panton Chair was the first chair to be made of injection-moulded plastic, for example. Its form and materials were quite radical at the time and were considered to be futuristic.
6.1.1 | Image
6.1.1 | Image
In the context of classic design, the concept of image refers to the overall perception and impression that a design has in the minds of consumers. Image is a social construct that develops over time. Image makes classic designs instantly recognizable and provoking emotional reactions. Here are some key aspects of how 'image' achieves this:
Visual shorthand: Classic designs often possess a distinctive visual language, employing recognizable shapes, colours, and patterns that serve as visual shorthand.
Emotional associations: Classic designs can trigger powerful emotional associations, tapping into memories, experiences, and cultural references. For example, the image of a Volkswagen Beetle might evoke feelings of nostalgia for a bygone era, while the sight of a Rolex watch might convey a sense of prestige and pride.
Universal appeal: Classic designs often employ simple, universal forms and symbols that transcend cultural and linguistic barriers. Images of these designs can communicate effectively across cultures, eliciting similar emotional responses from diverse audiences.
Familiarity and repetition: Exposure to designs over time enhances familiarity and reinforces emotional impact. Repeated exposure can create a sense of comfort and connection, making the design feel timeless and enduring.
Symbolic representation: Classic designs can become symbols of broader concepts or ideals. For instance, the image of a Che Guevara T-shirt might represent rebellion and counterculture, while the iconic "I Love New York" logo symbolizes affection for the city.
Emotional storytelling: Classic designs can be used to tell compelling stories, conveying emotions and narratives through visual storytelling. For example, an image of a classic car might evoke a sense of adventure and freedom, while a picture of a vintage toy might trigger feelings of childhood nostalgia.
Users of products respond to image in three ways:
Visceral response: First impressions.
Behavioural response: Experience of performance (function, usability, learnability, and effectiveness).
Reflective response: When a product (or the product's story) connects to the user's beliefs, memories and/or self-image.
Question: What image do you want to have?
6.1.3 | Mass Production and Omnipresence
6.1.3 | Mass Production and Omnipresence
The mass production of a design is an important contributing factor for a product to be considered a classic design. The mass production and distribution of a design ensure that it reaches a great number of users and achieves a high visibility in society.
Mass production involves investment in systems and processes to produce a large number of designs; however, this economy of scale means that the individual product can be produced for the lowest possible cost.
Mass production may also involve the optimization of materials, processes, and forms in order to be produced affordably and efficiently. Classic designs have benefited from designers who understand the processes and materials involved in the manufacture and are able to leverage this knowledge and understanding to create high-quality, timeless, classic designs.
Both the Bialetti Moka Coffee Pot and the Volkswagen Beetle are strong examples of classic designs that were engineered to be mass-produced to take advantage of economies of scale.
A design that is ubiquitous or omnipresent is constantly present everywhere. It has become a part of our daily life, to the point where we have started to attach emotions or feelings to the product. Ubiquitous designs persist in the marketplace despite there being newer or even better alternatives. They defy obsolescence.
6.1.4 | Ubiquitous and Dominant Design
6.1.4 | Ubiquitous and Dominant Design
A dominant design is a design that sets the standard for a product type. The majority of manufacturers and consumers recognize the features of a dominant design and use them as a benchmark when evaluating other designs. The large touch screen of Apple's iPhone design has for instance become a dominant feature of almost all smartphones.
Dominant design can be difficult to change. Users may be satisfied with the design and not see any advantage in switching to a different one. Likewise, if a company decides to re-design its classic design, it could risk users not adopting it. People will not have the same emotional attachment to the new design as they did to the old classic design.
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