The Stable: Where did it all begin?
Ken Carbone: I was very fortunate to begin my career working with the legendary Ivan Chermayeff and Tom Geismar. Their practice was THE example of what a multi-disciplinary firm could be. My partner, Leslie Smolan, and I have modeled our business after theirs. I was also mentored by Fritz Gottschalk and worked with him on the 1976 Olympics in Montreal. This was a real milestone in my career. AND of course I’ve been learning from my partner Leslie for more than 35 years.
TS: What would Ken Carbone now say to Ken Carbone then, if assessing his first design work?
KC: Don’t develop a style.
TS: What significant changes in design and in the design industry have you noticed in your career and in the last few years?
KC: What we do as designers is ever expanding. Our roles and responsibilities are more challenging, more interesting and more critical to the success of our clients. I didn’t learn the strategic side of design at college but it is more than half of what my design job is today. We have a truly global responsibility and reach even though we still maintain only one office in New York City, with less than forty people. This has been the profile of our business now for twenty years. However this is no longer a key differentiator as technology allows everyone to play in this arena. It really keeps you on your toes.
TS: How has technology impacted on design (across your career and in the last few years)?
KC: I’m of the generation that straddles the “old way” and the “new”. But thank “Jobs” the computer came along. I was never one who enjoyed pasting down galleys of type with wax. It all seems SO primitive now! Technology democratised design and more people are in the game than ever before. The danger is that it has also commoditised the field, and that could lead to a diminishing of value.
TS: And what do you think is on the horizon (in terms of technology’s impact on design)?
KC: If I knew that I’d sell my idea to Facebook! Everything will become even more digital. I predict that 80% of design will be delivered on a screen and that design will be in motion. If a firm isn’t embracing this today, it will be out of business tomorrow.
TS: How has the industry changed in the last five years and what does it look like for 2020?
KC: Having a design agency has never been more demanding. The barrier of entry in the field is very low as technology allows a young designer, with any talent, to build a business with very little investment. The competitive landscape is intense. Our only defence is to continually invest in new, dynamic talent that keeps our work at the forefront of the field and attract the kind of clients that let us do our best.
TS: Was it a deliberate decision to establish yourself with the top tier brands?
KC: Not at all. We just worked damn hard, had some lucky breaks and were able to attract some great clients.
TS: What is great design and what is it not?
KC: Great design embodies five characteristics: INGENUITY, UTILITY, UNIVERSALITY, SUSTAINABILITY AND BEAUTY. It’s basically a great idea that works for many people beautifully without hurting the planet. Read about it here.
TS: What part of your work is most important to you and why?
KC: Creating opportunities for my clients through effective design that creates value. Why? It’s an ego boost and I like working with client that appreciates what we add.
TS: How do you manage the conversations between your heart and head during commercial design projects.
KC: There is no conflict here! Design is a commercial endeavour whether you’re selling beer or tickets to a Cezanne exhibition. Any professional designer knows how to manage these demands and stopped whining about it long ago. I spend a great deal of time making art so if my resolve does start to crack, I’ll draw. It’s my sanctuary.
TS: The edges are blurring between creativity of advertising, design, sampling, packaging, and events. How much more collaborative is your business?
KC: Being in New York allows us to maintain a modest size office. There is so much great talent in the city we can buy “a la carte”: 60% of our work involves video production but we don’t have filmmakers in-house. We also don’t offer backend programming for websites, as there are many great programmers in town. Collaboration is absolutely critical for our business model. We invite the participation from other creative teams. It makes us bigger and better.
TS: Do active/intelligent packaging, experiential advertising/promotions and technologies like AR impact your current work?
KC: It all impacts our work because we work at a pretty high level for some elite brands. They demand that we stay top of our game, which means continually looking at our service offering to see what additional skills or talent we need to develop.
TS: How important are the bits on the side (the creative projects/studies done outside work) for you?
KC: I’m obsessed with drawing. I draw from a model once a week. I see a great deal of art. I write for Fast Co. Magazine and the Huffington Post. I teach. I swim. I play guitar and I have a family with three great kids. I try not to let sleep get in the way.
Carbone is one of the 41 speakers from 20 nations who will share experience, expertise and ideas at Look Upstairs during Melbourne International Design Week April 2-4. To find out everything you need to know to attend the event, click here.
