Five innovations help fashion design of furniture
â– Liu Weixiong
Under the requirements of the personalized aesthetic needs of emerging consumers, the traditional product-centric design thinking has greatly restricted the personalized play of furniture product design. Therefore, as an emerging product type that meets the personalized aesthetic needs of emerging consumers, the effective development and design of fashion-oriented furniture needs to be based on the transformation of some traditional development and design thinking patterns.
The biggest feature of fashion design is that it is the only mission to meet different consumers and different aesthetic needs of consumers on different occasions, thus abandoning all ideological constraints on the way of design thinking, design techniques and materials. . What is most urgently needed to change in the current furniture design innovation is the traditional thinking mode that restricts designers, and the ideological concepts such as the conventional design expression methods and material applications.
Fashionable furniture design breaks the design concept centered on things (products) and returns to the people-centered design standpoint. Under this premise, the innovation of a series of old concepts is inevitable, and the transformation of the following concepts is the most important and urgent.
Change the traditional product classification concept
Fashionable furniture is produced to meet the personalized aesthetic requirements of new consumers on furniture products. At this time, the design of human creative products has gradually transitioned to the development of a process centered on people (subjects). At this time, product designers first need to change the product classification concept from the physical basis of the product itself to the core basis of the consumer's own personality characteristics. This is because, at this stage, the composition of the value (purpose) of the product has changed, so naturally the conditions for realizing the value of the product also need to be changed.
When the designer establishes a personalized aesthetic of different consumers as the basis for classification on the concept of product classification, it will be found that many of the original conventions and ideological restrictions are just cocooning, and now they finally have Liberation, so design thinking will naturally become a lot wider.
Break the pure concept between time and space
For the design of fashionable furniture, the purely opposite relationship between classical and modern, and different regions and cultural traditions will be broken. In many cases, the relationship between them will be transformed into a harmonious coexistence, complementing each other in a combined application. In fact, any so-called "modern design" concept has existed in history. The reason for showing different styles is that the expression forms and materials used in different periods are different. The so-called "classical" and "modern" is just a phenomenon that the subject and object of each other are cyclically influenced by each other.
In many industries, consumers have long played down the academic concepts of modernity, tradition, classicism, and the differences between various regions and cultural styles. In their view, the product design is already only beautiful or not, fashion is not fashionable, whether it is tasteful or not, whether it is suitable for itself or not, etc. The difference is based on sensory intuition. For the specific historical and cultural connotations or symbols represented by design elements, in the eyes of emerging consumers, this knowledge is already a decadent thing. For this phenomenon, the most obvious ones are those industries that have now got rid of direct or high dependence on new science and new technologies, especially traditional product industries. For example, clothing, shoes, bags, jewelry, food, household goods, etc. Furniture products also have this obvious feature. In recent years, the product decoration design of industries that have great relevance to home, such as ceramic tile and other decorative materials industry, has largely broken the traditional, modern, and classical differences in concept, and focused on catering to the personalized aesthetics of different consumers demand.
Break the concept of single application of materials and adhere to the traditional
With the disintegration of the cult of material desires and physical sciences of a generation that grew up in a wealthy material life, a new generation of consumers became bored with pragmatic aesthetics. The reason is that the technical aesthetics based on functionalism is largely tedious, centered on objects (objects), and cannot satisfy the spiritual pursuit of the existence of self (subject) in human nature.
However, this does not mean that emerging consumers are repelling new technologies and new materials, but just abandoning the difference between traditional, modern and classical material aesthetics, and turning from the perspective of whether it is more conducive to expressing their own aesthetic concepts Examine the application of various materials. Under the guidance of this new concept, the reasonable combination of various types of materials can better express the rich personalized needs of consumers, so it will be widely used. Moreover, not only can the decorative materials on the surface of the furniture be very diverse, but even the main materials that do not affect the appearance can be combined and replaced more flexibly according to the needs of function and cost. In terms of the appearance and decoration materials of furniture, the daily personal and household goods industries such as clothing, leather goods, and jewelry can give us a lot of inspiration and reference.
Break through the status quo of decorative elements or single color
Designing or discovering a decorative element and then applying it to the entire series of furniture is a once-in-a-lifetime rigid approach that is far less satisfying the consumer ’s aesthetic needs than the multiple elements or color blending application in the personalized consumer aesthetic era. Designers bring a sense of accomplishment that challenges them.
In fact, people's aesthetic needs in life have the same development rules as the demand for food, that is, they are developed from single to rich and from weight to quality. In addition, a single and large amount of aesthetic needs must always be satisfied before the need for richness and refinement can emerge.
The appearance of multiple decorative elements, styles or colors in the same piece or series of furniture designs is not egalitarian and has no primary or secondary relationship. From the perspective of art design, there is no great difficulty in dealing with the relationship between them, although there will be a process of adaptation for furniture designers who are already accustomed to a single element and color.
Say goodbye to traditional series concepts and establish a sense of mashup
As the home of a family or personal living space, it is the place that can best express the true and rich emotions of the consumer's heart, and furniture is the most important appliance for creating a home environment atmosphere. The entire series is neatly styled furniture placed at home like a painting without visual focus, it is difficult to create a pleasant visual space for consumers.
In order to meet the requirements of emerging consumers focusing on the quality of spiritual life, the serialized concept of fashion-oriented furniture will break the status quo of this single style and non-primary and secondary design, and implement different furniture according to the requirements of target consumers for different functional space atmospheres Design, as well as the design of primary and secondary arrangements of different furniture in the same space.
For the general emerging consumer class, independent mix and match of furniture products consumes a lot of time and may lead to the failure of mix and match due to personal non-professional factors. Therefore, in order to better meet the needs of target consumers and effectively enhance the competitiveness of products, in the development of product series, it is very necessary for designers to change the traditional series concept and effectively integrate the mashup awareness into the design work.
â— Conclusion This global financial crisis may indeed be a disaster for furniture companies that are weak and only focus on hard work or passive waiting without in-depth strategic thinking and trend research. However, for companies with certain strengths and strategic thinking and trend forecasting capabilities, it is a good time to think deeply and plan for the next rise. The fashion of furniture design requires designers and managers to innovate in concept first, and then continue to explore in practice. Perhaps, who can launch the popular fashion-oriented furniture products as quickly as possible after the financial crisis, who will become one of the biggest winners in the next round of competition.
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