"I think it's really important to design things with a kind of personality"
About this Quote
Design, at Marc Newson’s altitude, stops being about function the moment function becomes assumed. “Personality” is his way of naming the extra charge an object carries when it’s no longer just a tool but a presence - something you notice the way you notice a person entering a room. Newson came up in an era when industrial design was splitting into two glossy religions: the cool minimalism of “invisible” objects and the tech-world fetish for frictionless utility. His work - from the Lockheed Lounge to the polished futurism he later brought into mass-market products - argues for a third option: the object that performs and performs back.
The intent here is practical and competitive. In a saturated marketplace, “personality” is differentiation that doesn’t need a spec sheet. It’s also loyalty: you don’t develop attachment to a neutral appliance; you develop it to something with quirks, confidence, a point of view. Newson’s phrasing is soft, almost disarming (“a kind of”), but the subtext is assertive: designers have a right, even a duty, to author emotional texture, not just solve problems.
There’s a cultural context, too. As screens flatten experience and products converge into black rectangles, personality becomes the one remaining arena of surprise: material choices that feel sensual, silhouettes that carry attitude, details that signal humor or restraint. Newson isn’t romanticizing objects as friends so much as admitting what consumers already do - we read products socially, as identity cues. He’s simply arguing that good design should be fluent in that language.
The intent here is practical and competitive. In a saturated marketplace, “personality” is differentiation that doesn’t need a spec sheet. It’s also loyalty: you don’t develop attachment to a neutral appliance; you develop it to something with quirks, confidence, a point of view. Newson’s phrasing is soft, almost disarming (“a kind of”), but the subtext is assertive: designers have a right, even a duty, to author emotional texture, not just solve problems.
There’s a cultural context, too. As screens flatten experience and products converge into black rectangles, personality becomes the one remaining arena of surprise: material choices that feel sensual, silhouettes that carry attitude, details that signal humor or restraint. Newson isn’t romanticizing objects as friends so much as admitting what consumers already do - we read products socially, as identity cues. He’s simply arguing that good design should be fluent in that language.
Quote Details
| Topic | Art |
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