Design For All
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Targets Functional Form: The New Imperative
As their motto states: “Design for All”, Target stores have thrived on the rise of consumers desire for aesthetically enjoyable goods, weakening the Modernist principle Form follows Function. A products value has predominately been determined by its success of utility. However, upon the inception of widespread mass production and accessible retail, there has been a natural gravitation toward the need for more personalized, specialized, and unique products. Retailers and manufacturers have acknowledged modern consumer thought shifting from basic need to “the personal and emotional – I like that” (Virginia Postrel 5). Aesthetically appealing products are designed to give pleasure through beauty and make a sale through personal connection. In the mid-to-late 1990s,Target used this knowledge to hire executives and big-name designers in a partnership and environment that shared the belief “people instinctively appreciate good design, and that it should be affordable and accessible to all” (Target.com). Not only is distinguishing good design instinctive, it has repeatedly proven to be a valid selling point. This philosophys success is evident in profit and Targets revenue has steadily increased since the pivotal acquisitions of Vice-President Robyn Waters and Design-Architect Michael Graves in the mid-1990s.
The dictum Form follows Function was coined by the Chicago architect Louis Sullivan in his article “The Tall Office Building Artistically Considered” published in 1896 (Klausner core77.com). For over a century it has been regarded as a statute of design philosophy. It cannot be argued that function precedes form; the designer has to make function his starting point. However, while Modernist design ideology promises “efficiency, rationality, and truth, todays diverse aesthetics offers a different trifecta: freedom, beauty, and pleasure” (Postrel, 9). Aesthetics, or styling, has become an accepted selling point on a global basis. Functionality still matters but competition has pushed quality so high and prices so low that manufacturers need aesthetics to make a product stand out. GE Plastics Headquarters in Pittsfield, Massachusetts has dedicated hundreds of millions of dollars into an era in which the look and feel of products will determine their success. They believe “Sensory effectswill be essential competitive tools” (Postrel, 2). In the late 1990s, Apple computers revitalized a distressed company through the personality and uniqueness of their iMac line while the reinvention of the Beetle reintroduced Volkswagens retro sensibility to a new generation of consumers. Michael Graves playful toaster design is Targets most popular and expensive model. It seems clear that form is now as valuable a selling point as pure, essential function. Frank Lloyd Wright, wise in his foresight, stated, “Form follows function – that has been misunderstood. Form and function should be one, joined in a spiritual union” (brainyquote.com).
Over 10 years ago, Target was known for its eye-catching and engaging advertising. However, its stores did not appear any different from many other discount-price retailers. In order to differentiate Target from Wal-Mart, executive management decided on a design-driven strategy. Robyn Waters was appointed Vice President of Trend, Design, and Product Development and discovered, “Everyone at Target heartily and unanimously accepted that design can drive business growth” (qtd. in Gogoi, BusinessWeek). Target began developing its own brands, hoping that customers would recognize that there was a stylistic difference from what they were finding at Kmart and Wal-Mart. At the core of Waters strategy was the emotional magnet created by good design: “Design became the tool that made our brands consistent and let us connect with our customers” (qtd. in Tischler, Fast Company). Supervising a team of 120 industrial, surface, and technical designers, Waters sculpted a typically Midwestern Target into a universally trendy and hip superstore. The Target Company was skillful in “collaborating with its stable of design talent to deliver products that enhance the lives of customers” (Tischler). In other words, Target was combining form and function.
Target also initiated a change in its physical appearance from store layout to the way it publicly presented itself in advertising. The slogan “Design for All” brought widespread attention to the new philosophies and business strategy of a growing company. The text from a Target ad reads:
Design inspires?
Design shapes
Design shines?
Design creates
Design transforms?
Design moves?
Design fits?
Design protects?
Design comforts?
Design colors?
Design unites (Target.com)
The purpose of this ad defines the new movement of Target. Design is a personal and emotional symbol that consumers can entrust with their choice. Design both unites and individualizes customers through personal taste. Physically, Target changed the store layout to create a more pleasurable environment. On its website, Target claims, “we concentrate on the aesthetics; we know that things like artistic seasonal displays can turn a weekend shopping trip into a fun family outing. We also work hard to make sure your experience is consistently enjoyable, with a clean environment” (target.com). Target designed its stores to be more attractive than Wal-Mart using a personal, creative approach while incorporating spatially luxurious principles like wider aisles and higher ceilings. In both Targets advertising scheme and store arrangement, there is a union of design and purpose: the form is functional.
Since 1997, Target has commissioned a multitude of accomplished designers to attract the aesthetic-hungry customer. Big names like Mossimo, Isaac Mezrahi, Todd Oldham, and Phillipe Starck were hired to assign household names to household items. Architect-Designer Michael Graves was the first to be hired and his Target line now exceeds 500