Design for Life - Interview with Max Fraser

An author, curator and journalist, Max Fraser has spent many years nurturing new and emerging design talent. He is founding author of the 'DESIGN UK' series of books, and co-author of 'Designers on Design' with Sir Terence Conran. He also writes for a wide range of publications including Icon, Time Out and The Independent.

Max has previously judged the Design Week Awards and is a member of the 100% Design selection committee.

1. "Design is a response to social change" Do you feel that the Design industry leads, or responds to, social changes?

There is a massive part of the design world that is concerned with 'luxury' stuff that nobody really needs. 

There are a growing number of designers questioning this in an area of the market unfortunately called 'design art,' which is essentially emotive/provocative/entertaining design that is executed with no brief from industry and is a 'self-commissioned' piece by the designer. This isn't going to spell massive social change.

Design has huge potential to affect change against crime, antisocial behaviour, healthcare products, infrastructural efficiency, mental health, safety, climate change... The list is huge. These areas are not very sexy and are rife with tedious legislation, so the uptake has been slow. This is strange, considering there are far more designers than jobs out there so you'd think they would have to diversify. Instead, many just continue on the same path.

2. Much of your writing (e.g. books like 'Designers on Design'), suggests that the Design industry is creative in its self-sustaining creativity. Do you agree with this perception?

Yes, I would agree with this. The design industry spends way too much time communicating internally, and is not always very good at speaking to the outside world - the eventual customer or user. That said - find me an industry that isn't insular! I make it my mission to try to communicate the message of good design outwards. Unfortunately, the design industry takes itself way to seriously, which has the effect of intimidating people, like it is culturally 'high brow'. Let's not forget that it's only furniture!

3. As Design is ultimately a client-centered industry, it could be argued that rather than creative imagination and ingenuity the industry is fuelled by material criteria.

Of course, functionality is the core criteria of design. But why is the client going to commission that particular designer over another? Because they want a bit of that designer's creative sparkle and imagination that can't be replicated elsewhere.

4. What have been your experiences of working with clients in the Design Industry?

There are two kinds of clients.

There are those who know what they want and others who don't have a clue. Designers for the former are often limited by their client's creative ideas and vision but are at least provided with a clear brief.

The latter are hopefully given more creative freedom but are more likely to be reigned in as caution and conservativism kick in!

I have noticed that, ironically it tends to be those with big budgets who commission the most boring design work - limited budgets spark creative thinking.

5. Was there a point of inspiration in your earlier years that led you to want to work in Design?

As a teenager at school, conventional 'academic' subjects were the favoured route. I just wasn't interested in learning the same stuff as everyone else, so I saw art as the route to create something that is unique. From my interest in abstract geometric art, my attentions shifted to the functionality of design. However, I wasn't keen on actually designing and became more interested in promoting design across various media.

6. What has been your experience of working in the fields of Journalism and Design, and how do you feel your roles work together?

I have always considered myself to be someone who is involved in design and I happen to write about it.

The press has become very powerful in design and so many designers now seem to produce 'wow' products because they know the press will jump on their pretty pictures. I am guilty of this. Unfortunately, somewhere along the lines, good quality 'quiet' design that functions well has got a bit lost in the fanfare.

Also, the power hierarchy between design and design journalism should not shift. Without the design industry, the design press would have nothing to write about. In that respect, we are vultures to their creativity and I always try to remind myself of that if I am getting too big for my boots! That said, it is important to have critical voices and opinion as an indication of quality.

7. Can you make any predictions for developments in the Design world over the next few years?

I really hope it slows down, considers its responsibilities to the environment, and gets rid of the notion of disposability and fashion. The world doesn't need any more chairs, so if we're going to make more then we should at least do it well and responsibly and promote the idea of quality, longevity, and re-use.

8. What advice would you give to those wanting to enter Design as a field of work? 

My advice would be to tread very carefully into the design field and don't look for fame, but instead gain valuable experience working with individuals or companies that you respect. Ultimately, practical experience is what the client is looking for. Based on my track record with education (I dropped out very quickly), I don't think academia is the only way forward.

9. What is a typical 'day in the life' of Max Fraser?

Too much time in front of the computer communicating with all sorts of designers, press, and businesses! If not that, then too many meetings!

I have just completed my first self-published project, called LONDON DESIGN GUIDE, which comes out in September 2009. It celebrates the best design destinations in London, with commentary on issues relating to manufacture, communication, retail, and consumerism of design items. It also pinpoints the various shared approaches and philosophies of designers in London, in a chapter called Design Tribes.

My job title changes all the time. On my business card, it says design author, journalist and curator. I also make short films on design. And now I'm a publisher too!