Agalia Tan

To understand what’s driving this shift, you need only talk to young people. They’re saying that after years spent constructing carefully curated online identities and accumulating heaps of online “friends,” they want to be themselves and make real friends based on shared interests. They’re also craving privacy, safety, and a respite from the thron... See more

It’s worth asking not just whether to post, but what kinds of exposure feel worth giving.

We’ve all seen designers apologise for tacking selfies onto work announcements to boost engagement; algorithms prioritize faces, not fonts. The more you perform, the more visible you become, and the more performance the system demands (ad infinitum).

Many “designer” influencers barely do, or show, any actual design work at all. Instead, they build credibility by performing proximity to design, like posting brand guidelines from major rebrands or reacting to industry news like a hovering art director. Online, it’s easy to look like an authority on design without making very much of it.

Where once a designer might have been hired to create packaging or campaigns behind the scenes, many are now brought forward as faces of collaborations – they’re photographed in their studios and interviewed about their process as part of launch. The designer’s body, personality, and public profile become a commercial asset. Like the long-running o... See more

WIP was now a kind of soft production, and uploading half-baked concepts and early explorations became a genre in itself. The finished product – if it was made at all – mattered less than the ongoing stream of updates.

personal data itself became fodder for designers. Long before the era of Spotify Wrapped and Strava PRs, information designer Nicholas Felton’s Feltron Reports (2005-2014) tracked his meals, conversations, music choices, and much, much, much more to create multi-page, one man “annual reports.” Dear Data (2015), by Stefanie Posavec and Giorgia Lupi,... See more