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The Power in Numbers: The State of Women in Design

This article, written by Rebeccah Pailes-Friedman, was published in the Fall 2024 Issue of IDSA’s INNOVATION Magazine.

There is power in numbers—whether through data, collective action, or the growing presence of women in the field of industrial design. As our industry continues to evolve, conversations around gender equity have gained traction, especially in the face of persistent challenges such as underrepresentation, career progression barriers, and pay inequality. While we’ve made strides, there’s still a lot we need to dig into and figure out. This article explores key statistics on women in industrial design, takes a look into the troubling mid-career drop-off many women experience, and highlights the urgent need for concrete data to drive systemic change. Understanding the state of women in industrial design is critical, not only for those currently in the field but for the future of the profession itself.

Last spring, the Women in Design Committee gathered as much information as it could find to take the temperature of the state of women in ID. We found some eye-opening statistics. One of the striking statistics is that 70 percent of industrial designers are men, and unfortunately that trend is not getting better. Three recent studies from Data USA (2022), Zippia (2021), and IDSA (2021) show that the percentage of women and nonbinary designers has decreased from 30.77 percent in 2010 to 18.6 percent in 2021. Though this is in line with women’s overall participation in the workforce, the numbers get even worse as women progress in their careers. Between the ages of 30 and 44, the percentage of women in ID drops precipitously, from 38.7 percent to only 5.6 percent.

As women progress from junior to executive roles, an alarming 55 percent leave the industry altogether. By mid-career, many women leave the profession, a shift that raises important questions. Current data on where these women transition after leaving ID is limited, but evidence points to a range of barriers: lack of leadership representation, unconscious bias in the workplace, insufficient mentorship, limited opportunities for advancement into leadership roles—and, of course, the persistent pay gap between men and women. Feedback from industry professionals suggests that many women feel isolated or undervalued, leading them to pursue careers in adjacent fields or leave design altogether.

This is something that Dalal Elsheikh, a first-generation Sudanese-American, car enthusiast, and keynote speaker at this year’s IDC in Austin, Texas, has experienced first-hand. Committed to creating opportunities for women and girls of color in traditionally male-dominated spaces, Elsheikh shared insights that provide a valuable perspective on the barriers faced by women, especially women of color, and how we can work to overcome them. One barrier that can be challenging to overcome is the feeling of belonging. When the majority of the people you work with don’t look like you and haven’t had your life experiences, it can be intimidating to take on a leadership role. When discussing advocating for oneself, she shared her thoughts:
“In a creative field like industrial design, it’s so important for designers of all levels and backgrounds to feel heard and respected. I know for women and those of us who don’t see ourselves reflected in the workplace, it can be a daunting task to advocate for ourselves and our ideas. Confidence is a muscle that takes constant exercise to grow. The first time you stand up for your work, share a radical idea, or dare to oppose the status quo, it will feel awkward.”

She added that reflecting on your work and how far you’ve come can help you gain perspective:
“The fact that you have been accepted into this role or program for no reason other than that you are qualified. That knowledge alone should give you the sense of authority you need.”

It is becoming increasingly important to include a diversity of thought and ideas in the work we do as industrial designers. In my role as the founder and principal designer at Interwoven, it has become a key selling point that we are a woman-led and primarily women-staffed design consultancy. This diversity has allowed us to approach design challenges with fresh perspectives, resulting in more innovative solutions. However, it wasn’t until I led my own firm that I truly felt people were actively listening when I spoke, and open to the ideas I put forth. At Interwoven, I’ve witnessed first-hand how creating a space where women’s voices are not only heard but valued leads to richer, more inclusive design outcomes. Our team’s unique perspectives have helped us tackle complex problems in ways that wouldn’t have been possible in a more homogeneous environment. It has reinforced my belief that diverse teams aren’t just good for equity—they are critical for creativity and pushing the boundaries of design.

Elsheikh shared a similar experience. When she first entered the automotive industry, she worked on a car interior project focused on enhancing rider comfort, specifically considering where a woman rider might prefer to place her purse. The design team, which was primarily composed of men, brainstormed many ideas: “Maybe it’s a hook she can hang her purse on, or maybe a compartment, or a shelf she can position a bag on, or how about under the seat?” Elsheikh didn’t feel qualified to share her insight with this group of seasoned designers, so she kept quiet and didn’t share that these suggestions seemed unlikely; most women, she believed, would want to keep their bag in their lap or on the seat beside them, and don’t feel comfortable keeping their bags out of sight. “I felt unqualified, but in actuality I was at that moment the most qualified,” Elsheikh said. “I had the lived experience of being a woman, being someone who used ride-hail services, and someone who carries a purse.” This experience illustrates how essential it is for women to feel empowered to share their unique perspectives, as they often bring invaluable insights that others may overlook.

It is critical to cultivate and support women and nonbinary designers in becoming thought leaders within our field. To bring attention to these concerning trends and other key statistics, the Women in Design (WID) Committee created a large data visualization poster for the International Design Conference (IDC). This interactive exhibit encouraged attendees to engage directly with the data through various prompts aimed at gathering qualitative feedback. In one exercise, we asked attendees to vote on which question the community believes is most crucial to explore further. In others, we invited reflections on allyship and workplace inclusion.

From this exercise, we learned that one of the most concerning trends in industrial design—the dramatic mid-career drop-off of women—was a key issue that many attendees wanted to understand better. While women make up more than half of the graduates receiving industrial design degrees, this promising start doesn’t translate into long-term careers. The Women in Design (WID) Committee has recognized the need for more concrete data to fully understand the reasons behind this drop-off. By collecting more precise data on where these women transition, and by identifying the barriers that push them out of industrial design, IDSA and the WID committee aim to develop targeted solutions. These findings will guide future initiatives, from mentorship programs to policies addressing work-life balance and leadership pathways, all designed to support women through the most challenging phases of their careers.

In collaboration with IDSA’s Research Committee, we are working to scope out future research that will explore these transitions and uncover root causes, with the goal of developing strategies to retain female talent and foster long-term career growth in the field. While conversations around gender equity have helped raise awareness, the WID Committee believes it’s time to move beyond dialogue and take action. Ultimately, the goal is to use this data to inform industry-wide changes that will create more inclusive environments, foster diversity in leadership, and ensure that women not only enter industrial design but thrive throughout their careers. As Elsheikh said: “As we continue to see women entering (and more importantly, staying in) design roles and moving up the corporate ladder, we can only hope that the strength in numbers will put forward the importance of the female perspective.”

The conversation around women in industrial design is not just about representation. It’s about creating meaningful, lasting change in the industry. The data is clear: Women enter the field in strong numbers, too many leave by mid-career, driven by barriers such as lack of leadership opportunities, mentorship, and pay equality. Through efforts like the Women in Design Committee and their collaboration with IDSA’s Research Committee, we are beginning to take the necessary steps to move from dialogue to action. By gathering concrete data and addressing the root causes behind the mid-career drop-off, we can develop targeted strategies to retain and elevate women and nonbinary designers. This is about more than equity—it’s about the future of industrial design itself. As Dalai Elsheikh reminds us, “the strength in numbers will put forward the importance of the female perspective,” and that perspective is vital to pushing the boundaries of creativity and innovation in our field. It’s time to ensure that women not only enter industrial design but thrive throughout their careers, shaping the future of the industry.

—Rebecca Paikes-Friedman, FIDSA
rpf@getinterwoven.com

References

Bartlett, Kristin, “Women in Industrial Design: A Review,” Proyecta56 an Industrial Design Journal, https://www.zippia.com/industrial-design-internship-jobs/demographics, June 2023.

Data USA, “Commercial and Industrial Designers,” https://datausa.io/profile/soc/commercial-and-industrial-designers, 2022.

Industrial Design Society of America, “2021 Membership Survey Findings Report,” https://www.idsa.org/2021-membership-survey-findings-report, 2021.

Federal Reserve Bank of St. Louis, “Labor Force Participation Rate: Women,” https://fred.stlouisfed.org/series/LNS11300032, 2024.

Zippia, “Industrial Design Internship Demographics and Statistics in the U.S.,” https://www.zippia.com/industrial-design-internship-jobs/demographics/, 2021.

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Creativity as a Natural Pathway

This article, co-written by Rebeccah Pailes-Friedman and Elham Morshedzadeh, Ph.D., was published in the Summer 2024 Issue of IDSA’s INNOVATION Magazine.

As industrial designers, we often rely on the natural flow of creativity to fuel our work, drawing inspiration from our surroundings, cultural experiences, and intuitive processes. However, sticking exclusively to these familiar paths can sometimes limit our potential for truly groundbreaking innovation. In this discussion, five talented women industrial designers explore the concept of creativity as a natural pathway as well as the benefits of embracing less conventional approaches. By stepping out of our comfort zones and experimenting with new techniques, we can uncover disruptive solutions and push the boundaries of design, opening up a world of possibilities that may have otherwise remained hidden.

We began by defining natural versus unnatural paths to creativity. The discussion revealed diverse perspectives among the six of us. A natural path to creativity was generally seen as an organic process, drawing on intuition, personal experiences, and iterative design. Celeste Greenbaum, Human Centered Researcher and Industrial Designer at Philips, highlighted this by explaining that natural creativity stems from “things that you derive from your skill set from, or from iteration.” This type of creativity is intrinsic and emerges from the designer’s own abilities and observations, grounded in traditional and learned methods in the design process.

An unnatural or supernatural path to creativity, on the other hand, was thought to involve external influences or unconventional methods. For example, generating an algorithm or using AI was considered an unnatural pathway. An unnatural approach leverages technology and other external tools to stimulate creativity, pushing beyond the innate capabilities of a single human mind. Elham Morshedzadeh, Ph.D., Assistant Professor, University of Houston and IDSA WID Committee member, expanded on this by noting that unnatural creativity “can have a broader interpretation” and includes learned techniques that may not come intuitively. By embracing these unexpected and often abstract and not fully explored methods, designers can uncover innovative solutions that might not arise from traditional processes alone. As Dr. Mary Beth Privitera, M.Des., PhD FIDSA Principal, Design & Human Factors at Sentiar and Professor, Biomedical Engineering University of Cincinnati, pointed out, the interplay between natural and supernatural pathways can lead to unique and diverse design outcomes, enriching the creative process through a dynamic exchange of ideas and methods.

The design process is fluid and knowing when to shift your thinking is critical. As the conversation shifted to pinpointing the moment when a designer realizes that it’s time to change up the way they are thinking, the group brought forth a rich tapestry of experiences and insights. Greenbaum reflected on challenges wherein traditional methods fell short, such as designing a product for children that initially seemed uncomfortable and unappealing. She shared, “I get really stuck when the design requirements lead to something that looks like a torture contraption.” Changing up the approach can lead to fresh ways to think about a design. This change often requires reaching outside conventional techniques and incorporating elements that transform the product into something playful and engaging.

Privitera underscored the designer’s responsibility to think differently, stating, “It’s almost like your responsibility to think differently.” When assessing any project, it’s essential to ask ‘is this something that’s desirable?’ The drive to infuse unique, appealing elements into designs is necessary , whether developing medical tools or everyday kitchen items. By embracing diverse approaches, designers can break free from conventional constraints and create products that resonate on both functional and emotional levels.

Katie Lim, Senior Industrial Designer, frog & Chair of IDSA Women in Design NYC Chapter, emphasized the importance of storytelling in guiding clients and users through innovative changes, noting that “if you can tell somebody a really good story you can hook them in from the beginning.” Storytelling helps mitigate resistance to change and makes new ideas more accessible. It can be a valuable tool when faced with resistance to thinking differently. Morshedzadeh expanded on the significance of storytelling, particularly in today’s technologically advanced landscape. She pointed out that “having these technologies helps us to create more realistic stories” and has revolutionized how designers communicate their visions. This blend of narrative and visual tools fosters a deeper emotional connection between a product and its users.

The conversation then shifted to examining how natural and unnatural methods might influence user experience. This part of the discussion highlighted the importance of empathy, attention to detail, and the inherent biases that designers must navigate. Lim emphasized the significance of stepping outside of personal design perspectives to truly understand user needs, sharing an example of designing an unboxing experience for cancer patients. She noted that “going through the actual motions to understand all those in-between moments of the key touch points” is imperative for creating a user-centered experience. Greenbaum concurred, adding that meticulously mapping out every detail of user interaction is essential, even if it feels “unnatural” due to the depth of analysis required.

A rigorous approach to understanding user experience ensures that designers can identify both the strengths and weaknesses of a design. On the other hand, Privitera highlighted the challenges of qualitative research, pointing out that it’s inherently biased by personal interpretations and selection criteria. She stressed that navigating these biases requires “taking that leap of faith and looking at it from another perspective” to achieve an optimal solution. She also described the complexity of designing for future technologies, such as augmented reality in medical applications, where traditional design tools and prototype testing fall short. Privitera aptly summarized this dynamic tension: “I’m designing a new future, but I’m not in that future. And so I’m predicting again what I think that future might be.” This underscores the iterative nature of design, where natural intuition and unnatural, innovative methods must work in tandem to enhance user experiences in the most effective way.

Balancing intuition and critical thinking in design, especially when using generative tools, was a topic that sparked diverse perspectives among the group. Yi-Ping Wong, Director of Operations for IN2 INNOVATION believes that the balance lies in using generative tools for improvements, validations, and inspirations. “If we can feed generative tools with information and parameters derived from intuition and critical thinking, they can help generate ideas that we might not have thought of ourselves. While these ideas may not be the final solution, they can push the boundaries of our approach” Greenbaum highlighted the importance of understanding both personal and stakeholder biases. She emphasized that designers must introduce innovations in ways that respect users’ autonomy and expertise.

Morshedzadeh echoed the need for designers to embrace scientific methods to enhance decision-making reliability, despite the resistance this approach might face within the design community. She argued that using established tested methods would help us avoid making biased decisions. This integration of scientific rigor can help designers navigate their preconceived notions and produce more robust outcomes.

Privitera discussed the fluid interplay between unstructured intuition and structured critical thinking. She illustrated this balance with a personal example: “In my own head, I am a superhero with the cape and I can come up with really creative ideas that are wacky and fun.” Yet, these ideas are then rigorously evaluated to ensure feasibility. This interplay is pivotal, as designers oscillate between unfettered creativity and practical constraints, depending on whether they are refining existing products or conceptualizing entirely novel ones. Starting with broad, imaginative concepts before refining them with practical constraints allows designers to avoid being constrained by existing paradigms. Lim noted, “If you start off with the constraints, you’re designing the same thing everyone else is designing.” This process of shifting from unstructured to structured thinking fosters innovation while ensuring practical yet creative viability.

When discussing how to stay up to date with emerging technologies and tools in the design field using both natural and unnatural approaches, the panel offered a range of strategies. Lim emphasized the value of looking beyond the traditional design sphere: “I like to look outside of the design.” This approach broadens the scope of inspiration and keeps designers informed about trends in various industries.

Privitera highlighted the importance of attending conferences to gain exposure to unexpected innovations: “Attending conferences, you see a whole host of different things that you wouldn’t even expect.” She noted that events like the Industrial Designers Society of America (IDSA) conferences offer diverse insights that can inspire new design approaches. Industry conferences and tradeshows, such as CES (Consumer Electronics Show), and SXSW (South by Southwest), have always focused on the latest technologies, tools, and industry trends. These events provide an excellent opportunity to learn about a wide range of topics and perspectives in one setting. Wong added, “Networking with professionals who are passionate about these subjects is also valuable. Whether you agree or disagree on certain topics, it is important to maintain an open attitude towards discussion and new perspectives.”

Other participants also shared their methods for staying informed. Greenbaum mentioned the benefits of interdisciplinary learning that arose from her interest in cognitive psychology, which has now extended into nursing training to deepen her clinical knowledge. This point was emphasized by other panelists who shared examples of designers that sought additional training in fields like acupuncture and surgery. These experiences provide valuable perspectives that significantly enhance their design capabilities in their chosen field.

Morshedzadeh, sharing an academic perspective, emphasized the importance of continuous learning: “When I come across something that I believe I can teach or incorporate into one of our courses and it piques my interest, I’ll incorporate it into the curriculum, starting with elementary basics. This way, we can practice and explore its potential.” This approach not only keeps her skills sharp but also ensures that new graduates are well-equipped with the latest tools and technologies, boosting their confidence and employability.

In conclusion, the discussion among this group of industrial designers, all with a wide variety of experience and specialization,underscores the importance of embracing both natural and unnatural paths to creativity in the design process. While drawing from personal experiences and intuition forms the foundation of design, integrating unconventional methods and technologies can unlock new pathways of innovation. By challenging conventional thinking and experimenting with diverse approaches, designers can break free from limitations and uncover disruptive solutions that resonate deeply with users. Furthermore, maintaining a balance between intuitive creativity and critical analysis, as well as staying informed about emerging technologies through avenues like industry conferences and interdisciplinary learning, are essential for driving continuous growth and pushing the boundaries of design excellence. As we navigate the ever-evolving landscape of design, it is this dynamic interplay between tradition and innovation that fuels our journey towards creating impactful and meaningful experiences for users worldwide.

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Insights from the Women in Design Committee

The article “Insights from the Women in Design Committee”, written by Rebeccah Pailes-Friedman, was published in the Winter 2023 Issue of Innovation Magazine.

The Women in Design Committee comprises a rich tapestry of individuals hailing from diverse backgrounds and experiences. Our membership is a dynamic mix of practitioners and academics spanning young professionals and seasoned designers, including entrepreneurs and those employed by large corporations. We proudly represent gender and racial diversity.

We represent five distinct regions across the United States. Marcelle van Beusekom, IDSA, senior designer at Aruliden, represents the Western district. Elham Morshedzadeh, PhD, IDSA, assistant professor at the University of Houston, represents the Southern district. Annie Abell, IDSA, associate professor of practice at Ohio State, represents the Central district. Priyankaa Krishnan, IDSA, design and change manager at Meta represents the Midwest district. I, the founder and principal of the Interwoven Design Group and Professor at Pratt Institute, represent the Northeast district, and Lea Stewart, IDSA, senior manager at Newell Brands, leads the committee.

In this article, the six of us come together to engage in a conversation about our experiences. Our objective is to uncover shared experiences, explore our differences, and, ultimately, convey our collective wisdom, which we are excited to share with you. The following features excerpts from our conversation.

Breaking Barriers

Entering the field of industrial design can be a challenge, and landing that first job can be a pivotal moment in one’s design career. We all have experiences to share about that transition. My path is rather unconventional. I came from a highly successful corporate career in apparel design, having held design director positions at Nike, Fila, and Champion. However, transitioning to industrial design proved to be exceptionally challenging. After completing my MID, I faced difficulty finding a job. Ultimately, I charted my own course, combining my skills and reimagining myself as an expert in wearable technology and smart textiles. I leveraged my experience, merging it with product design to jumpstart my career as a design consultant.

Setting yourself apart is the key to standing out in a job search. Van Beusekom recalled a disheartening comment she received during an interview for her first internship: “They said, ‘Oh, they still have you design this device in your school?’ It was then that I realized not all schools support students in building a strong, distinctive portfolio. Fortunately, I learned this before graduating and spent a year studying abroad at a different school. This allowed me to create unique and relevant case studies, learn from others, and enhance my foundational skills. A stronger, more distinctive portfolio helped me secure my first full-time role.”

Many of us on the committee had to be creative in our entry into the profession. Morshedzadeh, for instance, did not secure her first job solely due to her design skills. She networked extensively during her undergraduate years, and once she landed the job, continually had to prove her value. “In my position, I had to work diligently to earn the respect of my co-workers, especially as a woman and an immigrant with a different appearance, perspective, and communication style,” she explained.

Abell reflected that “women can encounter various hidden and invisible barriers ingrained in society and workplace cultures.” However, one of the toughest challenges is recognizing that you can also be a barrier to yourself. Imposter syndrome is real. This same sentiment resonated with Krishnan, who faced significant pressure in an orthodox Indian family where the expectation was to become a doctor or engineer, or else face social ridicule. “I applied to over 700 jobs over three years, completing two degrees while struggling to secure employment until I finally received a life-changing offer from a renowned company,” she shared. Perseverance paid off, but the journey was long and arduous.

Navigating the Field

Historically, women have been underrepresented in industrial design, and navigating this landscape has required us to employ various strategies to overcome gender-related obstacles. Van Beusekom initially had a degree of naivety about this issue. Her graduating class was gender-diverse, and it was only after graduation that she realized the industry’s disparities. “I decided to turn the difference into my advantage, lean into my strengths and unique perspective, and have continued to build on those ever since,” she explained.

Abell emphasized the importance of finding your support system, explaining, “Having a support system is critical. Identifying allies in your workplace can be invaluable. Building positive relationships with peers or, even better, those with authority, can greatly assist you when facing various obstacles.”

Morshedzadeh found herself working harder, keeping a lower profile, and being less outspoken, both in her home country of Iran and when she immigrated to the U.S. She experienced discrimination as the norm. Krishnan also encountered discrimination, particularly when expressing her dream of working for IDEO while pursuing her master’s degree. Two male professors discouraged her, saying, “Women designers from the Midwest do not get jobs at IDEO and Silicon Valley.” However, she ultimately succeeded in landing a coveted job in Silicon Valley.

Krishnan’s advice to aspiring designers, especially young women entering the industry, is to “never let anyone discourage you from pursuing your dream. Keep pushing towards success.” Morshedzadeh stresses her advocacy for designers, especially her students, by helping them find their unique voice in design, igniting a deeper drive for their future, and empowering them.

Aspiring designers should be aware that there are various paths to success within the field of design and product development, spanning industrial design, user experience, product management, and more. Van Beusekom suggests, “My advice is to get started, whether at a consultancy or a company. Rather than trying to define success up front, I have often found it more valuable to try something new, learn from the people around me, and reflect on the role, team, or environment I enjoyed the most. Following your joy and keeping it at the forefront is the most motivational way to move forward.”

Balancing Act

We are all well aware that balancing a career, personal life, and family commitments can be particularly challenging for women in male-dominated design offices. In such settings, women often find themselves navigating a work culture that may not fully understand or appreciate their unique life commitments and responsibilities.

One significant challenge stems from the differing life commitments and home responsibilities between men and women, which often go unnoticed or unacknowledged. Women in these environments may fear that taking time off or requesting flexibility to fulfill their home responsibilities could make them appear less committed to the team. The pressure to conform to the perceived standard of putting work first can be overwhelming.

Conversely, some women may worry about putting too much into work at the expense of their personal lives. The fear of losing the balance between work and life is a genuine concern, as it can lead to burnout and negatively impact well-being. In this context, it’s important to acknowledge that working at a large company can have benefits, including established leave policies that provide a sense of security. However, smaller companies can also be suitable places for women to work, as they may provide more opportunities to create flexible schedules, customized flexibility plans that cater specifically to individual needs.

I have embraced a flexible working schedule for Interwoven Design that allows designers to pursue other interests. About five years ago, I established a four-day workweek. We are all in the office Monday through Thursday and off on Friday, which we call Flexible Fridays. People in the office have this time to pursue outside interests, teach classes, play and coach sports, and have room in their schedule for life. Our productivity has not decreased, and everyone is happier to be at work when they are in the office.
Abell has found balance in her life and success in her career as an academic. She explained, “Working in academia gives me a very flexible schedule, and I have the freedom to schedule or tend to life matters anytime I’m not in class or in a meeting.” She also maintains healthy boundaries with work, particularly email, by turning off notifications to avoid constant distractions.

Defining Success

Success in the field of design takes on various forms, and many of us grapple with defining what success means while striving to achieve a fulfilling work-life balance. Achieving equilibrium between your design career, personal life, and family commitments is a continuous journey that necessitates self-awareness and adaptability. It’s about feeling empowered to allocate your time and effort according to your priorities, rather than comparing yourself to others.

Stewart shared her evolving perspective on success throughout her journey. Initially, success was tied to personal growth through learning and project completion. As she progressed and assumed leadership roles, her definition of success transformed. She explained, “Early on, success meant acquiring skills and accomplishing design projects. Yet, as I became a mentor and manager, I found deeper fulfillment in fostering the growth and achievements of my team members. Witnessing their development and career progression became a significant measure of my success.” While project completion remains important, it’s now seen as a collective effort tied to team growth. Success has shifted from an individual pursuit to a shared journey. Today, her greatest satisfaction lies in empowering fellow designers, supporting their goals, and contributing to their success.

Van Beusekom’s view of success has also evolved over time. She initially measured success by the ability to bring exceptional products to the market and earn design awards. However, her perspective on success and successful design broadened as she gained a deeper understanding of what makes a product truly great, qualities such as desirability, attractiveness, delightfulness, meaningfulness, responsibility, impact, and differentiation. She continues to refine this perspective as she grows as a designer and creative leader.

In conclusion, I want to express my heartfelt thanks to the dedicated members of the Women in Design Committee. Their unwavering commitment, honesty, and openness have been the driving force behind this insightful discussion. Our committee is a tapestry of diverse individuals, representing a broad spectrum of experiences, from different regions of the United States, backgrounds, and design roles. Through this article, we came together to share our personal journeys, challenges, and wisdom.

Our experiences have revealed the evolving definition of success, the significance of support networks, and the importance of flexibility in our professional and personal lives. We believe that our stories will inspire and empower others in the design community, particularly those facing similar challenges. I extend my warmest thanks to each member for their contributions, and we eagerly anticipate sharing more of our collective insights in the future. Together, we are forging a path toward a more inclusive and diverse design world.

Design Strategy: Your Secret Weapon

Why are so many designers talking about strategy? Design Strategy is a new buzzword. Everywhere I turn, it seems that people are talking about it and how it has helped them design incredible (and successful) products. But let’s back up for a minute. What exactly is design strategy, and why do we need it? These are the questions that designers Katie Lim, IDSA, senior industrial designer at frog, Emilie Williams, IDSA, co-founder and leader of creative direction at Hydrific by LIXIL, Daniela Macías, IDSA, global experience design manager at Colgate-Palmolive, Monica Welcker, founder of Weft Designs, and I discussed on a panel at last month’s International Design Conference in NYC.

Putting It in Context

As designers, our primary task is to create new products. To do this most effectively, we need to master many skills. Even before we can start to sketch, model, and prototype our designs, we need to understand the landscape in which the product lives. Design strategy always is—or should be—at the forefront of our creative process. Lim said, “It’s the who, where, when, how, and why to define the what. Simply put, design strategy is a thoughtful, responsible, and intentional first step that considers everything before, around, and after your design.” Design strategy serves as a road map to align user needs, business goals, the product, and its manufacturing feasibility with the company’s mission and vision. Welcker summed it up as “design strategy is the intersection between design thinking and business development.”

But design strategy can be more than just balancing business and user needs. Williams, who has a unique view being part of a startup within a large corporation, explained that “it’s important to define what we mean by ‘design strategy’ since it can mean something very different depending on the context, audience, or application—whether to a single product, an entire brand, a particular market, an innovation development, or even an internal company process.” She also said that developing and implementing a successful design strategy helps craft better products for people and the environment they exist within while also achieving those ever-critical business goals and providing consistent and engaging products and brands.

Macías, whose long career at Colgate-Palmolive has straddled working in two countries and multiple divisions, added that “creating a robust design strategy that aligns with the overall company’s strategy, enables designers to create a solid foundation for our design process. … It structures our creative thinking through frameworks, tools, methodologies, and design principles that help us, and the people we work with, make sense of the problem we are trying to solve together with a design solution.” She also said that with a design strategy, we can better plan, direct, negotiate, and coordinate our efforts. Ultimately, it helps us make informed decisions that lead to the sweet spot between desirability, feasibility, viability, and sustainability. Implementing a solid design strategy drives the design process to the finish line, resulting in a positive impact on the company’s goals through the transformative power of design.

Getting Started

What are the first steps? Where do you start? Lim said, “It’s important to identify and meet with all stakeholders around the product. Ask them how they define success. Everyone is looking at products through a different lens. This also teaches you how to speak their language and how to share your concepts so that when you present, you can first reiterate what they have said and highlight things that matter to them.” By bringing everyone into the conversation, you gain their trust. This is the secret to success and to becoming a thought leader from the start. She also said, “Design can often be the center of multiple teams within a company, so you need to know how to invest and manage those relationships.” Demonstrating that your design work addresses the goals of each stakeholder reduces resistance to new ideas. It helps keep minds open and discussions moving forward.

Starting to craft and implement a strategy can be a bit overwhelming. So what exactly does this all mean, and how do we implement a sound strategy to become thought leaders? “At the beginning of any project, it is our responsibility as creative leaders to understand, interpret and negotiate all of the inputs with our stakeholders so that we can synthesize, extract top priorities, realistically manage expectations, and find synergies,” explained Macías. Lim added, “Sometimes you have to lay out the pros and cons of prioritizing one side over the other, and you can use research and business goals to help make decisions.”

When launching a new design initiative, you should work to gain consensus on the project’s goals, including identifying the market opportunity, user needs, product engineering, manufacturing limitations, marketing, and, in a larger context, what will happen before the customer uses the product and what happens at the end of its life. All these things work together to create a full experience around the product you’re designing. Designers can use their inherent problem-solving skills to prioritize and emphasize how all these different elements come together. “It then becomes the designer’s responsibility to keep the user at the center of their design process and build the best possible product for both the user and the brand,” explained Welcker.

My experience is that a good strategy is a great place to start. I use it as a tool as I go through the design process. But you still need to use your strategy in the right way. One of the most important applications of strategy is to use it in your communications, both internally to the business team and externally to the user.

Other Useful Pointers

The panel discussed our tips and tricks for implementing our strategies. Macías said, “One of the most empowering tools that I have found to build belief behind our creative efforts is incorporating a robust design research plan into our design strategy as often as possible throughout the process.” She added that she has learned to speak many different business languages to build her case. Some of these languages include a solid timetable on a spreadsheet to guide the team, a beautiful deck for marketing, a rough prototype for packaging, and verbatim clips from user interviews for insights. Learning to speak these diverse business languages has been instrumental in advancing difficult projects throughout her career. Adding to this, Lim iterated that “we designers have a responsibility to stand for what is most accessible, inclusive, user-friendly, and sustainable.” Clear and relatable language—whether it’s pictures, words, or numbers—is critical to making your case through the lenses of all the stakeholders.

For those of you who are new to the idea of creating a design strategy, the panel had some thoughts on how you can start to develop and use this tool. First, we all agreed that there is nothing quite like learning by experience. Macías said, “Just practice, practice, practice!” Weckler advocated, “If you work for a brand with a go-to-market process, get involved! Ask if you can attend the various meetings, and be genuinely curious about what goes on in marketing and sales.” For some practical advice, Strategyzer and the Harvard Business School offer great free templates and frameworks. Macías said that even though these models may not be design-centric, she has found them helpful. IDEO also has some valuable free resources that can get you started. They can be downloaded directly from their website. IDEO also offers paid courses throughout the year on different topics. We all agreed that researching and learning about new tools and frameworks is something we like to do. We all are constantly reading, learning, and experimenting with new strategic plans.

Finally, we all agreed that design strategy leads to products that are better for people and the environment, meet the business goals, and produce engaging products and brands. A good design strategy allows all the voices at the table to be heard. Each of the stakeholders from design, product development, sales, marketing, and manufacturing are involved in the creation of a product. From identifying the needs to production and the product’s end of life and everything in between, every step has different immediate needs. A good strategy aligns all parties on a common goal. We believe that industrial designers will be instrumental in helping solve the world’s problems because that is our unique superpower: bringing creative solutions to life. And with a solid design strategy, we can get there.

Networking, Resilience, and Balance

This article, written by Rebeccah Pailes-Friedman, was published in the Summer 2023 Issue of Innovation Magazine.

Lessons from Successful Women Design Entrepreneurs

From designing products that we use every day to crafting the tools we need to live a more sustainable life; industrial design is all around us. While this field has traditionally been male-dominated, women are shaking things up and making a name for themselves in the industry. In fact, some of the most innovative and exciting industrial design studios today are run by women! So, grab your sketchbook and let’s take a closer look at some of the badass women who have started their own industrial design studios. Get ready to be inspired!

The Whys

One of the things that I am curious about is how and why so many women have opened their own practice. I asked a group of successful women design entrepreneurs about what led them to open their own studios.

For Isis Shiffer, founder and design lead, Spitfire Industry in Brooklyn, NY, her love for working with diverse clients and teams from various disciplines was likely a strong motivator for her to start her own studio. By owning her own business, she could have greater control over the types of projects she takes on and the clients she works with. This can be important for individuals who have a passion for a specific type of work or working with certain types of people.

On the other hand, the founder and creative director of Level Design in San Francisco, Nichole Roulliac, had the desire to lead her own studio and bring a new energy and perspective to the design industry that highlights the importance of representation and diversity in the workplace. ‘As a female founder, I saw firsthand how important it was to create a space that not only celebrated diversity but actively sought it out. I wanted to build a company that valued diverse perspectives and ideas, and that actively sought to create a more inclusive industry,’ said Roulliac. This aligns with a larger trend of women starting their own businesses to create more opportunities for themselves and to challenge traditional gender roles and expectations. Both designers recognized the need for a fresh perspective and decided to take the leap to become design entrepreneurs.

Jennifer Linnane’s experience as a successful solo-preneur and industrial designer highlights the benefits of being a freelancer, such as the flexibility to work on a variety of interesting projects and to build a successful business around one’s unique skills. This flexibility and independence can be appealing for many individuals who want to take control of their career and work on projects that align with their values and goals.

The Challenges

However, running a consulting practice or starting a business also comes with its own set of challenges. One of the biggest challenges is finding and securing clients, which often requires developing new skills such as networking, branding, and communicating effectively with clients. As Brittany Gene of Brittany Gene Design points out, scoping projects and learning how to communicate and contract with clients is crucial for success.

Building a strong network of fellow industrial designers and professionals outside of the design industry can also be an important factor in building a successful practice. This can help to provide support, advice, and potential referrals for new projects. It’s important for entrepreneurs to continuously develop new skills and maintain connections with others in their industry to stay up to date with the latest trends and techniques and to keep their business growing.

Overall, while becoming a design entrepreneur can offer many opportunities, it also requires hard work, dedication, consistent and clear communication skills and a willingness to continuously learn and adapt to new challenges.

Jennifer Linnane emphasizes the importance of confidence when it comes to freelancing, as you are essentially presenting yourself as an expert in your field highlighting your ability to partner with your client to deliver results. Additionally, resilience is necessary because not every day will go as planned. This highlights the need for adaptability and the ability to handle challenges and setbacks to succeed as a freelancer or design entrepreneur.

As the founder and principal of Interwoven Design Group, I have found that balancing innovation with practical business requirements and deadlines can be a challenge. Jen Linnane, who shares similar beliefs, argues that innovation and creativity can sometimes conflict with predictability, which is necessary for meeting business requirements, budgets, and deadlines. As a design entrepreneur, having both strong design skills and business acumen is essential for success. Achieving a balance between these two areas is crucial for running a thriving firm.

In summary, while becoming a design entrepreneur can offer many opportunities, it also requires hard work, dedication, consistent and clear communication skills, and a willingness to continuously learn and adapt to a new challenges. Freelancers and design entrepreneurs alike need confidence and resilience, and finding a balance between innovation and practical business requirements is essential for success.

The Hows

When doing researching for this article, the most common question asked by people who want to open their own firm ask is how to find new clients. The top answer from successful design entrepreneurs was networking. Isia Shiffer explains that 80% of her clients come from word of mouth and repeat business. Jeanette Numbers emphasizes the importance of building authentic connections with people to foster good business relationships and ultimately good projects and Nichole Roulliac expands her network by asking her contacts to connect her with their contacts. Most of the women entrepreneurs I spoke with spend on average 10-12 hours per week expanding their networks and fielding requests for info and proposals.

If you’re considering starting your own practice, this group has some great advice. Jeanette Numbers suggests surrounding yourself with a strong team and having faith in your team members. Brittany Gene advises investing in yourself and the tools you use every day. Nichole Roulliac stresses the importance of perseverance and staying true to yourself. Additionally, having a unique point of view and asking the “whys” rather than just the “hows” is important, according to Numbers.

However, even with a great support network and the right tools, burnout is a common issue among entrepreneurs. Isis Shiffer reminds us that it’s important to take breaks to recharge our brains, and Nichole Roulliac suggests being part of a strong network of allies who can support each other during difficult times.

Jeanette Numbers says “surround yourself with a strong team, have faith in your team members and Keep moving forward”. Brittany Gene adds “invest in yourself and the tools you use every day. It’s so easy to pick a cheaper option when buying tools but it can be the costliest in the long run.” supporting this adds Roulliac is to have perseverance and staying true to yourself. And Numbers goes on to say it’s important to have a unique point of view and strong perseverance, that she thrives on asking the whys, not just the how’s.

But even with setting up a great support network and investing in the right tools and equipment Shiffer adds that “Burnout is common, real, and avoidable. A lot of entrepreneurs have the sense that if they aren’t always working, they’re somehow failing, but this isn’t the case at all. You need to let your brain recharge to be good at any job.”

Roulliac, “Industrial design is a rollercoaster. Like any service industry, from hospitality to retail, there will be a huge, overwhelming rush of work – then a silence while you await the next storm.” “One thing that will help you through is being part of a strong, genuine network of allies who can support one another when times are tough”

Your Future Awaits

So there you have it, folks! From Brooklyn, NY to San Francisco and places in between, these badass women are changing the game in industrial design. They’re not only creating innovative products and solutions, but they’re also challenging the traditional gender roles and expectations in the industry.

Whether you’re thinking of starting your own design studio or just looking to learn more about industrial design, take some inspiration from these women. Remember to network, invest in yourself and your tools, stay true to your unique point of view, and don’t forget to take breaks to recharge!

Who knows, maybe one day we’ll be reading about your success story and how you’ve helped to transform the world of industrial design. So grab your sketchbook, put on some tunes, and let’s get to work!