Design Legends ("DL") had the distinct honour to interview legendary designer Tom Man ("TM") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.
TM : My journey into design began with a profound interest in creation and craftsmanship from an early age. Influenced by my grandfather, whose meticulous craftsmanship fascinated me, I spent countless hours exploring tools and materials, laying a foundation for my future in design. Formally, I pursued a Bachelor of Design in Industrial Design at Shenkar University, where I delved deep into the intricacies of design processes and honed my skills in bringing ideas to life. This educational experience provided me with a robust framework to understand design principles, aesthetics, and the significance of functional and emotional elements in creating impactful designs. Throughout my career, I've had the privilege to work on diverse projects spanning furniture design, interior design, and tableware, each contributing to my growth as a designer. My approach is deeply rooted in the belief that design should not only be aesthetically pleasing but also imbued with meaning and functionality, enriching the lives of its users.
TM : What motivates me to design is the opportunity to create meaningful experiences through creativity. From a young age, I've been drawn to the process of crafting and shaping ideas into tangible forms that can positively impact people's lives. This passion for innovation and the desire to blend aesthetics with functionality led me naturally into the field of design. Becoming a designer was a choice driven by my innate curiosity, coupled with a deep-seated belief in the transformative power of well-executed design.
TM : Becoming a designer was entirely my choice. I have never been pushed to do something I didn't want to do. Design naturally called to me, and I felt that I could realize my potential within this field. Now, I can confidently say that being a designer is a tremendous privilege.
TM : "I wouldn't consider myself a design legend, but for aspiring young designers, I would recommend staying humble and curious. Dive deep into the beautiful world of design, continuously learn and explore. Hard work and consistency are key in this demanding yet rewarding discipline. Embrace the challenges and frustrations that come with the creative process, as they often lead to growth and innovation. Above all, maintain a passion for creating meaningful experiences through design."
TM : The distinction between a good designer and a great designer likely lies in the ability to justify specific design decisions. Since I perceive every line and shape as an emotional element within the design, I believe that a good designer and good design need to be well-reasoned. This awareness shows that a designer is conscious of their choices. In my opinion, the higher the level of awareness, the better the designer. It all comes down to the details.
TM : This is a philosophical question that could be discussed at length. However, from my perspective, I evaluate a good design based on several criteria: its ability to intrigue and innovate, the presence of a compelling story, and its precision and attention to detail.
TM : "I must mention that I deeply admire Alex Padwa, who was also my professor. I find him to be one of the most intriguing designers I've encountered, driven by a passion that truly motivates and inspires me in my career."
TM : One of them is definitely the engagement ring I designed for my wife, Maya. It was a deeply personal project that I approached with great seriousness. I tried to think about what makes her unique and how she would approach it, and that's the brief I set for myself: to design a ring as if she were designing it for herself. I delved into extensive research on diamonds and settings, and collaborated with amazing professionals throughout the process. While she received it with a "slight delay" after the wedding, I believe it was worth it.
TM : To become better designers, it's crucial to be consistent and persistent. However, it's equally important to take a moment to step back and gain a new perspective on a project, and then dive back in with fresh insights. Paying close attention to the small details is essential, as these are what make the difference and convey that every dimension of the project has been thoughtfully considered.
TM : If I hadn’t become a designer, I likely would have pursued something related to either art or culinary arts.
TM : Since my studies, particularly in Philosophy, I've pursued the question of what "Design" truly means. During my exploration of various definitions, I encountered numerous perspectives and efforts to define it effectively. Several definitions have resonated with me and continue to influence my understanding of design. One such definition is from Collingwood, who argued that design is “the power to produce a preconceived result by means of consciously controlled and directed action.” Another influential perspective comes from Heskett, who stated: “…design, stripped to its essence, can be defined as the human capacity to shape and make our environment in ways without precedent in nature, to serve our needs and give meaning to our lives.” For me, design is a conscious act that needs to be explained and embody meaning that goes beyond the material. It is about creating intentional, meaningful experiences that serve our needs and enrich our lives.
TM : My studies in aesthetics have provided me with an entirely new language and understanding of design that I was previously unaware of. I owe a great deal of this knowledge to my professor, Professor Michalle Gal, who equipped me with the tools to delve deeper into complex ideas within design and to approach my work more consciously. This education has led me to grapple with challenging questions regarding the functional and emotional roles of objects in our lives, questions that I strive to answer through tangible design.
TM : One of the design projects that brought me the most satisfaction was the creation of the Pebble coasters. This was the first product we introduced to the external market. The Pebble coasters embody a story about the aspiration to pause and create moments of reflection in our daily, often overlooked actions. We did not compromise on any detail in the design, even though we knew the usage was not entirely standard (placing a glass on a coaster that is not flat for the most part). We were thrilled to discover that people connected with the story, appreciated the meticulous attention to detail, and valued the high quality of the product. The satisfaction came from knowing that we created an object that encourages thought and offers a slightly different experience from everyday routines.
TM : I would love to see the design industry shift back to the value that objects once held. This means creating high-quality items that are built to last. I hope to see a greater appreciation for thoughtfully designed objects, where people consider, choose, and connect with items that can be cherished and passed down to future generations. This focus on durability and emotional connection would bring about a more sustainable and meaningful approach to design.
TM : The timeline for designing an object varies widely and depends on numerous factors. It's important to note that in design, the process never truly concludes; rather, it's the allotted time for design that comes to an end. While I can immerse myself endlessly in refining details, practical considerations like client deadlines and manufacturing schedules are pivotal.
TM : As I mentioned earlier, color, materials, and ambient are considered emotional elements of design, echoing Roger Fry's perspective. To add to that, lines and shapes also play a crucial role in the design's inner rhythm and overall composition before color and material choices come into play. All these elements are utilized by the designer to craft an emotional experience within the design, influencing how people interact with and perceive the objects around them.
TM : Collingwood, R. G. The Principles of Art. Oxford: Oxford University Press, 1958. Danto, Arthur. “The Artworld”, The Journal of Philosophy, Vol. 61, No. 19, American Philosophical Association Eastern Division Sixty-First Annual Meeting, 1964. Danto, Arthur. What Art Is?. Yale: Yale University Press, 2013. Forsey, Jane. The Aesthetics of Design. New York: Oxford University Press, 2013. Fry, Roger. Vision and Design. London: Chatto & Windus, 1920. Heskett, John. Toothpicks and Logos: Design in Everyday life. Oxford: Oxford University Press, 2002.
TM : I don't feel famous. One of the things I love about design is that most objects speak for themselves. Sometimes people take interest in understanding the person behind the design, but I don't have the ability to be present with all my designs wherever they may be. Therefore, I prefer that the objects I design be famous, not me.