When Volvo unveiled their new prototype “a car designed by women for
women,” at the Geneva Motor Show this March they called it YCC: Your
Concept Car. They might just as well have called it Pandora’s Box. The
car’s “feminine” features—an inaccessible engine, teflon bumpers,
computer-assisted parking, seat-covers that can be changed to match your
outfit—proved controversial. The first to condemn the Swedish design
team (eight out of ten of whom were women) was Robert Lutz, Vice
Chairman of General Motors, who called the project “sexist”. “Most women
would say: ‘I send my husband out to do the shopping. Let him have the
car with the rubber bumpers, ’” he said.
Nick Currie strikes a sophisticated pose in a Volvo lounge.
American and British people discussing the car on the internet seemed
to agree. “It makes women engineers look like morons. I’m sure
right-wingers will have a lot of fun with this one,” commented
“Dymaxion”, a Chicago woman whose online handle honors Buckminster
Fuller’s 1933 three-wheeled bubble car. “I think the lady designers were
imported from the 50s,” agreed Liz, who pictured the design team “in
nice clean white labcoats, foxy librarian specs and lovely high heels.”
Someone called Allyzay pictured “all the men at Volvo behind closed
doors with cigars and brandies, chuckling mightily at how ‘cute’ the
‘little ladies’ are. This whole story really is like 50s science.”
Only 50 were ever made, but the company persisted with the theme:
Daimler CEO Lord Docker let his wife design a series of extravagant show
cars, the Docker Daimlers featuring gold plating, zebra-skin
upholstery, and ivory dashboards. At about the same time, Dodge
introduced a pink car known as “La Femme” with cosmetics cabinets built
into the seats. It was a fiasco, says Lutz, and led Detroit to steer
clear of cars that played on gender stereotypes.
Or did it just sweep the issue of gender under the accelerator mat?
Is gender only invisible in our cars because we take it so much for
granted? The anger of the man from General Motors might have a different
explanation: as soon as someone comes along with an explicitly feminine
car, all cars are made to look inherently masculine, and thus sexist.
The best way to refute the accusation is to respond in kind. But once
your gender bias is shown, can you ever find the neutral position again?
How do you close Pandora’s sunroof?
Personally, I don’t think the women at Volvo were being “sexist”. I
do think, though, that the company could have taken more care with the
implication that what’s biologically female is necessarily what’s
culturally feminine. They might, for instance, have called the YCC “The
car by women, for women... and the woman at heart!” Being born
female is a matter of biology, but appreciating “feminine” qualities
like ease of use, aesthetics and convenience...well, anyone can do that.
“Men and women really want the same things in cars, ” says Camilla
Palmertz, the Volvo project manager. “But women want more. There’s no
car out there right now that fulfills all their criteria.” Thinking
about this, I formulated a hypothesis: “Consumer societies progress in
the direction of the feminine”. What women want today, men will want
tomorrow. Who wants to wrestle a car into a tight parking spot when a
computer can do it better?
The development of the cell-phone in Japan seems to bear this out.
Keitai were clunky big black things marketed to businessmen until NTT
headhunted a female lifestyle journalist to re-position them as fashion
accessories for young girls. Phones got slim and pearly, and those
smaller phones became the template for all cell-phones pretty soon. The
kinds of things women want—usability, elegance, portability—are the
kinds of things all consumers value... eventually.
It was then that I stumbled on the ideas of Geert Hofstede, founder
of IBM’s Personal Research Department. Between 1966 and 1971 Hofstede
sent out 117,000 questionnaires to IBM employees in 72 countries,
quizzing them on their views about life and work. Based on the results,
he constructed a model of cultural attitudes structured around four
variables (Hofstede’s Dimensions) Uncertainty Avoidance, Power Distance,
Individualism-Collectivism and Masculinity-Femininity.
The gender measure was the most controversial one. Hofstede called
“masculine” values like competition and achievement and “feminine”
things like co-operation and quality of life. The most “masculine”
nations according to Hofstede are Britain and the US. The most
“feminine” turns out to be... Sweden, home of the “car by women for
Corporate creative teams are being tapped for a wider variety of projects and a more strategic role within their organizations. So how are in-house designers rising to the challenge? The Creative Group partnered with AIGA to find out in our annual research project, the Creative Team of the Future.
Section: Inspiration -
INitiative, Professional Development, career, in-house design, professional development, collaboration, digital media
The wait is almost over...Baltimore Design Week 2015 is coming October 16–October 24, and registration is open NOW! Get ready for a week of awe-inspiring events for designers and design enthusiasts alike.
Drawing from more than two decades of experience working on issues related to communication and culture, brand diplomat Christopher Liechty proposes a “third culture approach” for in-house creatives challenged to bridge the culture gap between themselves and their business colleagues—who sometimes seem as if the come from another planet.
Section: Tools and Resources
We chat to Snøhetta about designing banknotes, studio rituals and the problems with civic commissions
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