Tag: Design History

Social Design is Back — and Ready to Make a Difference

“[D]esign has become the most powerful tool with which man shapes his tool and environments…This demands high social and moral responsibility from the designer. It also demands greater understanding of the people by those who practise design and more insight into the design process by the public.”

Austrian designer Victor Papanek’s observation about the design industry may have been written more than fifty years ago, but it continues to resonate with many designers today. His 1971 publication, Design for the Real World, accused the industry of enabling “murder on a mass-production basis” by helping manufacturers create unsafe, wasteful and polluting products. Instead, Papanek advocated for a socially and environmentally responsible profession that designed not for consumerist fantasies but “real world” needs.

➜ Read the full essay in Emerge: Contemporary Southeast Asian Design and Beyond

Archiving Without a Collection: Reframing and Bootlegging to Build the Singapore Graphic Archives

At a recent meeting, a client of mine wondered what the logo of her government agency used to look like. Before I could reply, she started searching online. The next thing I saw in front of me was an entry about the logo design from the Singapore Graphic Archives.

Unbeknownst to her, I was the author behind the write-up. In fact, I am the founder of the archive that appeared as her top search entry. This was exactly how I imagined the archive would be used over a decade ago.

➜ Read the full essay in Archiving Archiving: Scoping

Eulindra Lim: The Rise of Women in Singapore Design

In 1966, the advertising industry in Singapore and Malaysia recognized the “Best Asian Designer” for the first time—the prize given by the Creative Circle, an annual award show organized by the advertising agencies in the two neighboring countries. This honor was presented to Miss Eulindra Lim. An art director at S.H. Benson—a British advertising agency that was one of the largest in the two former colonies—Eulindra was recognized to have distinguished herself among the local advertising workforce of primarily Chinese, Malays, and Indians. They worked in agencies traditionally owned and led by white expatriates from Australia and the United Kingdom, a legacy of how the advertising industry in Singapore and Malaysia had developed with colonial industrialization.

However, both colonies had become independent nations by 1966. The Creative Circle was established four years earlier to elevate local creative standards and ultimately nurture “top creative people to originate and lead in this field—in their own country.” While the award initially recognized only the best work in various categories each year, the addition of the “Best Asian Designer” prize from its fourth edition sought to spotlight local talents and attract more of them into the industry.

Mr. Peter Morgan-Harry, the managing director of S.H. Benson, said about Eulindra’s achievement: “As a career, any serious-minded young man or woman joining the business at the moment can look forward to a very bright and successful career. There is every prospect of the expenditure on advertising rising rapidly during the next ten years.”

Besides an effort to localize, Eulindra’s win could also be read as the rise of women in Singapore’s advertising industry. In 1966, barely a quarter of the country’s economically active population of over 576,600 was female, and the majority were employed in the community, social and personal services. The advertising industry was no exception, having been long been “exclusively a man’s world” where women were thought to be not as capable as men. This began changing from the 1960s, when an estimated 100 females “held coveted executive positions.” In the 1970s, Eulindra  joined their ranks when she started her design studio, Eulindra Designs, which worked on several significant projects that supported Singapore’s modernization into a global city-state. The studio’s success encouraged the rise of other female-led creative agencies that have become a part of Singapore’s creative community today.

➜ Read the full essay in Women Graphic Designers: Rebalancing the Canon