Made in China: The Evolution of Design

What are the design elements and principles that have emerged from over 1,000 years of producing products sought by the world?

China wants to be more than just the “factory of the world”. While China’s economic strength for decades has been built on the might of its manufacturing sector, policy-makers are currently attempting to steer the economic ship away from the production of low-cost goods. Amid this massive paradigm shift, Chinese enterprises across industries have realized the importance of design in bringing their companies, and the economy writ large, up the value chain.

China has a rich tradition of domestic design capability and has exported design concepts to the rest of the world for centuries. Yet, historical and cultural factors disrupted this process and Chinese designers today find themselves playing catch up with their Western counterparts. However, there are encouraging signs that Chinese design may soon change the identity of the “Made in China” brand.

Many Chinese factories for decades operated on an OEM (original equipment manufacturer) model, in which they produced goods based on foreign designs. Companies have now recognized that the next frontier for China will be the establishment of strong domestic brands, which will necessitate a shift to an ODM (original design manufacturer) model. It is hardly an easy shift, and many, particularly those in the Chinese garment sector, recognize that their design talent continues to lag that of their foreign competitors.

China’s history as an OEM manufacturer, however, may also give it an edge. Manufacturing of goods destined for export was the first step in a continuing internationalization process for China’s designers. Furthermore, China’s manufacturing sector has made an art of the speedy production of goods tailor-made to client demand. As such, the mainland has an unparalleled ability to quickly implement design.

Yet, the new generation of Chinese designers face significant hurdles. There are over 1 million design students on the mainland, but most of them have little understanding of the market’s demand for their services. Young designers also lack the relationships to secure plum government contracts – a major industry driver in China. As a result, government design contracts go to senior designers. The few Chinese enterprises that recognize the importance of design prefer to hire more experienced foreign designers who will work hand in hand with the client throughout the entire project.

Nonetheless, China is approaching a tipping point in the global design industry. Chinese designers are swiftly boosting their capabilities, while garnering the respect of their international peers. Furthermore, the sheer size of China’s consumer market suggests that future global design will be aimed at satisfying the demands of the Chinese consumer. It is a transition that could mark a new day for Chinese design, and domestic designers would be wise to begin preparing now.

Some suggest that China could take a page out of Japan’s playbook. Japanese designers in the 1980s shifted their focus from the export market and sought to reinterpret traditional colours, shapes and textures into their products. Today, Japanese brands such as Muji have championed a modern and quintessentially Japanese aesthetic that has found a market at home and abroad. Ultimately, China’s designers face the same problems as designers around the world. The goal is not to create “Chinese design” but rather “appropriate design” that meets market needs and can help spur innovation.

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