Patricia Moore and Universal Design

In our new Design History Series we highlight iconic women in design history and their innovative work. The historic contributions of women to design are many, and we aim to increase the awareness of these contributions in order to counteract a general trend of underrepresentation. In this issue we celebrate Patricia Moore, one of the key proponents of universal design and arguably its most dedicated champion.

Metamorphosis

In 1979 Moore was the only female industrial designer at Raymond Loewy Associates, a well-respected firm famous for NASA’s Skylab space station as well as many household products. During a meeting she proposed designing a refrigerator door that could be used with ease, sharing that this was an issue for her arthritic grandmother. The idea was immediately dismissed as, it was explained, the firm predominantly targeted middle-aged male professionals. Frustrated by this narrow focus, Moore realized that she wanted to design for everyone, the elderly included. But first, she would need to understand their experience. 

With the help of a talented makeup artist, Moore underwent a remarkable metamorphosis into “Old Pat,” employing makeup and elaborate prosthetics to simulate the experience of life as an elderly woman. She wore a range of costumes to indicate different class levels to see how class layered with aging to influence how she was treated. Over three years, she traveled incognito to 116 cities, documenting the prejudices and challenges faced by the elderly. These experiences and insights eventually became her book, “Disguised,” published in 1985. Despite the challenges she faced, including a brutal physical assault during her “Old Pat” experiment, Moore remained committed to empathy-driven design.

In the early 1980s, Moore founded MooreDesign Associates, positioning herself as a central figure in the popularization and adoption of “universal design,” which advocates for the creation of products and environments that cater to the diverse needs of individuals, regardless of age or ability. Throughout her career, Moore has collaborated with major corporations, including Johnson & Johnson, Boeing, Kraft, AT&T, Herman Miller, and 3M. She is especially well-known for her work with Smart Design on the development of the iconic Oxo Good Grips kitchen tools, which have become a benchmark for profitable and elegant universal design. Moore’s philosophy emphasizes that the universal design should transcend age or ability, centering instead on lifestyle. She advocates for designs that seamlessly accommodate changing needs at any stage of life and is aptly known as the “Mother of Empathy.”

A Paradigm Shift

Patricia Moore’s journey aligns with the evolution of universal design, a concept that has redefined how designers approach their craft. The wider adoption of universal design coincided with the societal shifts of the late 20th century. This era, which grew out of the by the Civil Rights and Women’s Rights movements of the 60s and 70s, witnessed an increasing awareness of diversity and inclusivity, prompting designers to move beyond the traditional, one-size-fits-all approach. Thought it was pioneered in the 60s, the concept of universal design didn’t imply true inclusivity until the early 2000s. It took champions like Moore to bring attention to universal design and demand action from the design community. Moore’s groundbreaking experiment as “Old Pat” drew attention to the unique challenges faced by the elderly, contributing to a paradigm shift in design philosophy and revolutionizing gerontological design. A steadily aging population has underscored the importance of this critical work. Now in her 70s, Patricia Moore remains one of the most influential practitioners of universal design.

The principles of universal design emphasize flexibility, simplicity, and a profound understanding of the diverse needs of users. Moore’s contributions have played a pivotal role in fostering design that prioritizes empathy, inclusivity, and a deep understanding of the human experience.

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