Money works differently in communities traditionally excluded from formal banking, which makes designing products that really serve their needs a very different kind of challenge. People who live in the last mile often prefer cash because it’s physical. They can see it, touch it, and access it at any time.

While digital money offers many benefits, such as securely sending money over long distances and accessing new forms of credit, many don’t trust it because the places where they can access digital currency have often been too far away.

In 2017, over 500 million adults lived more than three miles from a financial access point in eight emerging markets studied by the Gates Foundation. This may not sound like much of a barrier, but for those living in the last mile, it means having to close their shops, lose a day of earnings, arrange family care, and pay for travel, which can be time-consuming and difficult, especially during rainy seasons. For low-income people, the inaccessibility of financial services has been a deal-breaker for adopting digital money. On the flip side, banks, telecoms, and other companies struggled to reach these customers because their products were not inclusively designed for them, and their distribution models failed to scale in rural areas.

Amid these myriad challenges, IDEO and the Gates Foundation saw an opportunity to introduce innovative ways to provide access to digital financial services even in the most remote areas of the world. And to make bold new bets: Could we design new digital experiences centered around the financial needs of people in the last mile? What would happen if we mobilized hundreds of actors to develop new ways to address financial access at the last mile? What if we took the most exciting financial innovations that worked in East Africa and piloted them in South Asia—and vice versa?

Working with more than 70 partners, including local startups, corporations, including Google, Unilever, Telenor, Standard Chartered, and BNI, as well as IDEO.org’s Women & Money program, LMM adopted a collaborative, ecosystem approach to drive and scale new digital financial products and systems.

A few of the life-changing innovations launched by LMM and its partners include:

• Finja’s intuitive small-business app that helps micro-merchants in Pakistan access flexible, interest-avoiding Islamic credit  to order products from fast-moving consumer goods companies like Unilever. Finja now serves 45,000 merchants and reaches 10.2 million customers.
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• Accessing government benefits can be a challenge, especially when it’s through a mobile phone, so IDEO helped Indian startup Haqdarshak develop a robust digital experience for its 52,000 community agents to facilitate access for low-income people. The agent network—70 percent of whom are women—now serves more than 7.6 million families and has unlocked $2.2 billion in social benefits for those who need it most.
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• Making micro-credit nearly instantaneous was a solution that startup Kuunda offered to financial agents in Tanzania. IDEO helped adapt the product to deliver working capital for merchants in Pakistan. Today, Kuunda continues to grow across markets in Africa, totaling 6.1 million active users and distributing $1.1 billion in loans globally.   

While the LMM program officially concluded in 2024, lessons, tools, and case studies from the program are accessible on IDEO’s Financial Futures website. Those looking to catalyze equity and inclusion in digital financial services for the last mile can consult LMM’s Financial Confidence Playbook, the open-source Digital Confidence Toolkit (created in collaboration with Google), or the Gender Evaluation Framework, among other helpful resources.

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Over 1.3 billion people worldwide in poor and rural areas are excluded from formal financial services, including savings accounts, credit lines, and insurance, making it harder for them to move out of poverty.

34M

underserved users reached by 100+ new financial products, pilots, and prototypes

70+ LMM partners

including Google, Unilever, Grab, Standard Chartered, Cargill, Airtel, Celo Foundation, and BNI

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Multinational CPGs excel at creating popular, mass-market products for large countries. When they enter smaller countries like Peru, they often parachute their brands onto store shelves and skip consumer product testing altogether, largely relying on brand recognition to drive sales. This oversight presented Alicorp and IDEO with an opportunity: flip the script and invite young Peruvian women to work together with them to create a new hair care brand from scratch. Over the course of a four-year transformational journey, IDEO worked closely with Alicorp, adopting a “learn by doing” approach to foster a culture of innovation, launch a new brand, and drive growth for the company through consumer-centric design.

The collaboration began with an inspirational trip 10,000 miles away to Seoul, South Korea, the epicenter of global beauty trends. To expand their thinking, the Alicorp/IDEO team received K-Pop glow-ups and explored other cutting-edge beauty experiences. They were inspired by the Korean market’s unwavering focus on meeting the particular hair care and skin needs of Korean women.

Back in Peru, the team conducted multiple rounds of in-depth interviews with young women, teenagers, beauty influencers, and experts across the country. They learned about their beauty goals, personal care routines, and “mixto” hair texture. They heard about women’s struggles with regional weather—the Andean region’s extreme dryness versus Lima’s humidity and the city’s hard water. The research revealed that Peruvian women wanted natural products that worked hard, wouldn’t harm their hair, and celebrated what made them unique. They wanted a brand that spoke to them honestly and authentically. That represented and empowered them. That didn’t overpromise, underdeliver, or hold up European and American beauty ideals that didn't resonate with Latin American women like the multinationals did.

Armed with these insights, the Alicorp/IDEO team developed tangible brand prototypes for women to respond to during successive rounds of user research, including in a beauty pop-up store in Lima. The team shared various bottle types, ingredient mixtures, and brand positioning options. Should the new brand’s personality be an outspoken feminist or a gal pal? Au naturel or sophisticated? The iterative feedback cycles informed everything from brand strategy and ingredient recommendations to product line-up, brand and product naming, launch strategy, and digital activations.

The final design, Amarás (“you will love”), is a personal care line that centers the needs and aspirations of Peruvian women. Hitting shelves in 2022, its shampoos and conditioners feature local, bio-diverse ingredients, including mangoes, macadamia nuts, and goldenberries, that help address the specific hair texture needs of women in LATAM and the climate realities of the Andean region. The brand’s launch campaign included TV and print ads featuring Peruvian models from every region as well as commissioned murals celebrating local beauty by artists across Peru. Most notably, the unapologetically authentic Peruvian hair care brand became a TikTok sensation, garnering over seven million organic views and more than 300 viral videos from enthusiastic new fans.

Three months after its launch, Amarás seized a 7.5 percent share of the personal care aisle—a remarkable goal it had set for year three.Since then, Alicorp has continued to expand its creative capabilities, designing personal care products tailored to the cultural and beauty needs of Latin American consumers.

Alicorp launched numerous successful brand extensions across its food and home care categories, but was unable to crack the $340M USD hair care product market in its home country of Peru.

7.5%

Amarás’ share of the Peruvian hair care market 3 months after launch—a goal Alicorp had set for year 3

7M+ organic views and 300+ organic fan videos

created on TikTok during Amarás’  launch campaign

Thirty years ago, China-based Jack Technology started as a home sewing machine manufacturer. A decade ago, the innovative global leader began investing in robotics and exploring AI, a decision that positioned it well to address today’s urgent need for smarter manufacturing solutions.

Believing that a new, strategically positioned sub-brand could draw in larger, more premium global manufacturing customers, Jack Technology and IDEO set out to understand their needs. IDEO began by visiting more than a dozen garment factories across China, Vietnam, and Bangladesh, conducting in-depth interviews with factory managers, industrial engineers, pattern-making leaders, and frontline workers. It soon became clear: the apparel manufacturing industry is at a critical juncture. The way apparel manufacturers navigate the promises of intelligent technology—while addressing deep-rooted structural issues like labor shortages and working conditions—will shape the industry's development for years to come.

For premium clothing brands, garment factory compliance and worker well-being are priorities when selecting production partners, so many owners proudly showcased their improvement efforts. They discussed investing in quieter machines and air conditioning, enhancing lighting, adding greenery, and implementing no-overtime policies. Amid rows of identical sewing stations, the IDEO team noticed small human gestures, such as a small vase of flowers. As one operator said, “I just want to uplift myself during work.”

The research helped IDEO identify a core opportunity for differentiation. Create human-centered products and services that further enhance working conditions in large apparel factories, strengthen their ability to attract and retain talent, and drive the industry toward a more sustainable future. Through multiple rounds of co-creation with the Jack Technology team and key apparel-sector stakeholders, a clear brand direction for Aitu began to take shape: “Smart Machines, Uplifting People.”

Guided by this human-centered ethos, IDEO helped build a comprehensive brand system for Aitu. The idea of “uplifting people” and showcasing garment workers’ professionalism and skill is expressed throughout all brand communications, the industrial design of its smart sewing machines, and the interaction and industrial design of a humanoid sewing robot.

In the eyes of factory workers, this is the new work experience Aitu brings to life. Compared with traditional bulky industrial machinery, the clean lines and soft edges of Aitu’s new AI-powered sewing machines feel more like the professional office tools found in bright, organized workplaces. Concave surfaces and soft materials diffuse glare from overhead lighting, reducing eye strain, while clear interaction logic and icon-based visuals accommodate operators with varying levels of skill and education. AI technology, seamlessly embedded in the machine’s core functions, automatically adjusts parameters for different fabrics and tasks, allowing operators to achieve high-precision results with less effort. A soft halo-like light glows whenever the AI-assisted function is active, fostering users’ trust in both the technology and the AI-powered sewing machine as a whole. When hundreds or thousands of Aitu machines are arranged together in a factory, the overall effect is a modern, professional, and high-end work environment.

Working closely with Aitu’s robotics team, IDEO’s final design challenge was to bring a human-machine collaboration to life through a full-scale AI robot, AI10. The robot has an elegant, biomimetic silhouette. Its fabric-like outer finish features design elements commonly found in garment making, such as cutting and stitching lines, giving the robot the approachable look and the feel of a skilled tailor companion who can assist with simple, repetitive tasks. When AI10 is in operation, a circular light ring gently pulses at the sides of the robot’s ears as well as on the paired sewing machine’s display screen, clearly signaling the robot’s activity to its human co-workers.

In September 2025, Jack Technology debuted its new Aitu brand, along with its first AI sewing machine and a humanoid robot prototype, at a launch event at Shanghai Tower and at the China International Sewing Machine & Accessories Show. IFA Berlin, Europe’s largest trade show for consumer electronics, honored Aitu with a Gold Award for AI Product Innovation for seamlessly integrating AI technology and industrial design. Jack Technology’s humanoid robot is expected to go into full-scale production in 2026.

Before AI, the apparel manufacturing industry had experienced little fundamental change since the invention of the lockstitch sewing machine nearly two centuries ago.

2025 Gold Award for AI Product Innovation

from IFA, the world’s largest home and consumer tech event

Alicorp has direct operations in Peru, Bolivia, Ecuador, and Chile, manages export operations in more than 30 countries, and oversees over 150 brands. While its AlaCena sauces are ubiquitous in South America, the brand’s North American market primarily consisted of purchases made via Amazon by Peruvians living abroad. To help the CPG giant expand meaningfully and sustainably onto US grocery shelves—and achieve its ambitious $50 million retail sales goal in five years—Alicorp and IDEO collaborated on multiple projects over a two-year period. The partnership began in early 2020 with consumer research and product strategy, ultimately leading to the development of initial product branding, positioning for launch, and an in-market pilot in late 2021.

‍‍Through a combination of large-scale digital surveys and in-depth, in-person and remote research interviews, IDEO discovered that AlaCena’s Tari and Uchucuta’s hot sauce recipes resonated the most with US consumers. Made from native Aji Amarillo and Rocoto chili peppers ground using a traditional Andean “batán” technique, consumers appreciated their complex flavors and enjoyed how they enhanced, not overpowered, everyday foods like burgers and fries. The sauces’ authentic Peruvian culinary roots were also a key differentiator. In addition to consumers, IDEO consulted with industry experts—including executives from large-scale grocery chains and chief merchants of leading big-box stores—to explore retail and marketing trends and identify potential innovation partners for Alicorp in the US.

Based on the research, IDEO recommended a few changes to ensure a successful launch: Lead with the Tari brand, which was the most memorable and easiest to pronounce, and position it as an “everything sauce.” Change the packaging from a large plastic pouch to a smaller squeeze bottle to better align with consumers’ expectations and stand out on the inside of refrigerator doors. Adjust the product formulation to appeal to mainstream consumers looking for cleaner labels. And visually celebrate Tari’s Peruvian roots through bright colors, traditional textiles, and a llama, an animal closely associated with the Andes Mountains. In addition to these recommendations, IDEO provided a comprehensive go-to-market retail strategy that included potential US regions for launch, retail brokers, distributors, manufacturers, and R&D and pilot retail lab partners, as well as job descriptions for a new North American-based sales team.

While Alicorp worked on reformulation and packaging strategies, IDEO refined Tari’s initial branding strategy. Steeped in Peruvian aesthetics, the brand’s new look and feel featured a vibrant color palette, geometric patterns, and—of course—a friendly llama icon, which could also be found on all in-store point-of-sale items IDEO designed for Tari's pilot launch in late 2021.

The successful 12-week in-market pilot in Tom Thumb grocery stores gave Alicorp the confidence to have its in-house design team make the brand even bolder and more eye catching, and to launch two flavors, Amarillo Pepper and Rocoto Pepper, on Amazon and in over 50 retail stores in late 2024.

Since then, the popular sauces consistently rank among the top 50 percent of the fastest-selling products on US shelves, with 80 percent of sales revenue representing new business. In 2025, Tari expanded its offerings with three additional flavors: Zesty Verde, Tropical Kick, and Smoky Heat. Today, Tari is in transit to 3,000 major grocery stores, including Wegmans, Meijer, Central Market, and The Fresh Market, as well as available for purchase on Amazon.

Alicorp had a vision to expand its beloved and delicious hot sauces to the US market, but needed help fine-tuning the brand and product for an American audience.

3,000

major US grocers, including Wegmans and Meijer, have signed on to sell Tari hot sauces

80%

of Tari’s sales revenue represents new business, a significant expansion of the overall category

Ranked in the top 50%

of the fastest-selling products on US grocery shelves

Taking this 2025 appliance from concept video to functional prototype meant creating a realistic experience of technologies that won’t exist for many years. Designers had to come up with a way for the system to see and recognize foods on table’s surface and respond accordingly—and they had to make it work reliably for more than six months while some 250,000 visitors tried it out at pop-up exhibitions at the Salone del Mobile and EXPO Milan.

To find out how they did it, I talked to IDEO London interaction designer Siri Johansson and developers David Brody and Kalyn Nakano of IDEO Palo Alto, who built custom software that borrows techniques from computer vision.

How did the need to build a prototype for real use affect the interaction design?

Siri: As soon you put something in a public setting, people are always going to try to break it, especially if they’re really excited about it. They don’t mean to break it, of course, but they want to play with it and see what it can do. We had to focus on a few key functions and figure out how to make them work well enough that it would be feasible for people to play freely with the installation. A key design principle was to keep the technology low-key and in the background, to preserve the warmth and tactility of the kitchen, so we focused on functions that demonstrate that intention and show how the table uses digital to free up your mind so you can engage with physical things. The table knows what I’m cooking and gently guides me through the process, so I don’t have to keep going back to my iPad to browse a recipe. I can focus more on my ingredients—how they feel, how they smell.

How did it affect the software design?

Kalyn: Knowing this was going to be a live prototype forced us to consider every scenario. With on-screen prototypes, predicting how a user might interact with the screen is a lot more straightforward. But here, adding another dimension and more objects to the mix challenged us to consider all the different ways people could position and interact with the items on the table. Once we started building, it became clear that the concept video for the design was really just a starting point. Testing all the different arrangements and permutations challenged some of our initial designs and software implementation methods, especially when we started thinking about transitions. Tracking objects while they were moved around on the table forced us to implement things more formulaically to achieve a display with smoother transitions between states.

How did people’s interactions with early versions of the table change the software?

Kalyn: With a live prototype like this, you give up control over the experience. You can’t send everyone down the path you want them to take. We started building and testing our software based on the interactions shown in concept video, but those interactions are choreographed, and when people in the office started playing with the prototype, we realized the behavior in the video—putting the veggies down on the table and sliding them from place to place—wasn’t natural for everyone. Some people would hold the vegetables in their hands or lift them off the table while deciding where to put them. These interactions weren’t wrong, but we hadn’t accounted for them in our initial designs. The need to accommodate for this forced us to reconsider our image processing techniques to make sure we could still recognize the objects no matter how they were being handled.

How did you adapt the CV software to the specific needs of the project?

David: Our approach wasn’t to make CV that could be used for anything, in any situation. The better route was to take advantage of our constraints for the exhibition and build a simplified version of CV (written with openFrameworks and OpenCV) that we knew could be tractable and provable in the time we had. The table has to consistently recognize three ingredients—broccoli, tomatoes, and rice—so that people can experience how it works. While more complex CV might create models of what generic broccoli looks like, our solution uses examples of broccoli that it has already seen, along with shape and color distribution. It compares those factors with what it’s seeing in order to distinguish between objects. The distribution of color helps it distinguish between broccoli and a blue bowl of rice, while comparing with previously seen examples help it distinguish between broccoli and a green shirt sleeve.

Why was this an efficient strategy?

David: A lot of conventional CV uses a “sliding window” approach: The computer identifies an aspect of an object, like its shape, and looks for that object within a larger image by sliding the window of vision until it recognizes something that matches what it’s looking for. The hard part is making it work in real time, because the computer compares every possible “window” that contains the criteria it’s looking to match, and each comparison takes time. Since our software is only looking at colors, it’s easier to identify which windows on the table might contain the objects it’s seeking. So the first thing it does is look for the points on the table where the intensities of color are the highest, and it says, “these might be objects.” It sends that information down the pipeline to the next step, and that’s where the color-recognition algorithm comes into play: It compares the histogram of a potential object with the histograms for broccoli, tomatoes, and rice, and determines which object it’s looking at.

What was it that excited you about this project?

Kalyn: This was a great example of building to learn. Creating a live prototype introduced a lot of interesting interaction design questions into the software development process, and it got us to solve technical challenges that wouldn’t normally come up during a screen-based prototype. It generated a new excitement for designing dynamic and thoughtful off-screen experiences, and watching people’s reaction to it was inspiring. When we set the table up in Milan, we came in the next morning and found construction workers playing with it, saying, “bellissima!”

The IKEA Concept Kitchen 2025 was on display at IKEA Temporary, a pop-up exhibition at Salone del Mobile in Milan, Italy, April 14-19, 2015 and can be seen at EXPO Milan, May 1-October 31, 2015.

Read more about Veggie Vision and the entire Concept Kitchen on Tech Insider and at IDEO.com.

What will kitchens be like a decade from now? IDEO recently helped IKEA envision some wild ideas that will likely be entirely plausible—someday. Usually, predictions like this exist only on screens, as concept videos and digital renderings. But this time, IKEA asked IDEO to build a working prototype of one future concept: the Table for Living, a cooking and work surface that recognizes the foods you place on it and projects customized recipes and cooking tips right onto the tabletop.

On a recent visit to the lab, I got an early look at Monster Moves, a new app that lets kids choreograph moves for a team of dance-happy monsters. If that conjures images of elaborate 3D creatures, think again: At first glance, Monster Moves appears to be completely flat. Any single frame of the game looks just like a simple 2D illustration.

But when one of those 2D monsters does a twirl or flip, suddenly (and pretty magically), you see that each one has a complete three-dimensional physiology, from the top of his head to the booty he’s shaking.

It might seem hardly noticeable, but think about it: if the image was truly two dimensional, there would be no top or bottom, no back or sides. To make the monsters look flat, but still have the ability to rotate 360°, the team used 3D modeling to create the characters, and then stripped down the art to make the monsters look two dimensional. Even though they appear flat, all the monsters have skeletons and skins, and they can turn to any angle.

So why bother making them look flat?

Toy Lab’s Michelle Lee explains that the 2D look of the game is crucial to its function. The mission of Monster Moves is to help kids understand that they are the choreographer, and that there is a direct connection between their choices and the monsters’ dance steps, which develops an awareness of creative control. The designers wanted kids to focus on the dance moves, so it was important that the art not distract them with too much 3D detail. That’s why they stripped away all the fancy shadows and shiny curves and kept the monsters as simple as possible.

The early version (left) has a 3D look, which the designers thought was still "too much." They chose to eliminate all shadows except for the drop shadow beneath the character (right).

Curious to check out the monsters for yourself? Learn more about Monster Moves and the entire portfolio of IDEO Toy Lab apps at IDEOToyLab.com.

Just like the rest of IDEO, the Toy Lab is dedicated to building creative confidence. Admittedly, they have a bit of an edge when making kids’ products—children have natural creative confidence, so the Toy Lab’s job is to encourage them to preserve it and show them new ways to apply their innate creativity.

We built a light pipe, which, in principle, can be viewed as a fiber optic cable. All the sides are polished to a clear finish so that the light can be reflected internally inside the pipe. If the light hits a section of pipe where the surface is not perfectly reflective, like if it’s gouged or scratched, it will use that section as an "emitter" and attempt to escape the pipe. We take advantage of this by covering the bottom surface of the pipe with dimples. To make the path consistently bright, we arranged the dimples in a gradient with fewer dimples closer to the source, where the light from LEDs is brightest, and more dimples to catch the light farther along the light path (where the light is dimmest).

This step-by-step guide describes our process of quick experimentation and prototyping to achieve good illumination without having to run extensive light bouncing simulations. The design is created in Illustrator using blend modes, and the light pipe is manufactured with a laser cutter on 1/4" thick clear acrylic.

Please note that results will vary depending on many factors. The optical design, LED brightness, and beam angle are important factors to consider.

1. Open a new Illustrator document and draw a rectangle. We chose 8" x .5".

2. Make a guide and space it roughly 1/4" away from the edge of the rectangle. This is where the dimple pattern will begin. (Leaving a 1/4” margin allows us to later mask off the area to prevent seeing excessive LED brightness near the source in the light pipe.) Now draw a circle with a .005" diameter.

3. ALT + Click and drag the circle to duplicate it, and move it to the other side of the rectangle. The two circles mark the two ends of the dimple pattern.

4. Select both circles and create a blend.

5. Open up the blend options to fine-tune the blend.

6. Change the spacing to "Specified Steps" and set the number to 700.

7. You should see 700 evenly spaced dots! In order to get them to start off sparsely spaced and then get closer together, we'll modify the path of the blend. Select the Anchor Point Tool (Shift + C).

8. Use the white arrow to select the first point and drag it until you see the spacing start to change.

9. Create another guide halfway along the path, and then drag the anchor point (with the white arrow selection tool) just past the guide. Repeat the same process with the last circle, but move its anchor point about half an inch to the right.

10. You should now have a gradient spacing of 700 circles becoming more closely spaced as you move from left…

11. …to right.

12. Once you are satisfied with the blend, expand it.

13. ALT+Click and drag the blend to copy it, and place it at the bottom of the rectangle.

14. Select both blends and then use the instructions from Step 4 to create another blend.

15. Use the instructions from Step 5 to fine-tune the new blend.

16. We chose to give our pattern a little bit of randomness, so we ALT+Click-ed and dragged the blend down and to the right ever so slightly.

17. With that, we’re ready for the laser cutter! This process is pretty quick to prototype (roughly 15 minutes from start to finish), so explore different gradient patterns and techniques, and try light pipes that are curved or bent (just keep in mind the critical angle).

18. Next, we raster the dot pattern on 1/4″ thick acrylic. Be sure the acrylic surface is clean and scratch-free.

19. Different laser cutters have different settings for varying materials and thicknesses, so keep that in mind when choosing your settings. We used a speed of 80, power of 50 and maximum PPI for the raster. For the vector cuts, we took 4 cuts at speed of 4, power of 95, and maximum PPI.

20. Now take your light guide and examine the edges. Make sure the material is transparent; otherwise you’ll need to do some hand-polishing.

21. The slightly bumpy yet clear finish the laser leaves after a cut works great for our purposes. You’ll want to surround all clear surfaces with white reflective paper or tape, and mask off the quarter inch where the light first enters the pipe.

22. Here are the results with a super-bright LED! You can see that the light starts to drop off a little toward the end of the pipe.

23. We could come back to tweak the blend pattern (reducing the number of dots at the beginning of the light pipe and increasing it toward the end).

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Light guides are physical tools that transmit light along a path from an illumination source while maintaining constant brightness. They’re often used in products to create a line of light that is consistently bright and dynamic-looking, even when it comes from a single source. Unfortunately, there is no simple how-to guide available for making them. The process is kept tightly guarded by optical engineering companies. We came up with a quick process to make our own light guides, and now you can too.

IDEO has decades of experience with automotive work, which has brought keen insight into the trends and technologies that will define the vehicles of the future. This presents an important design opportunity: If we visualize today the way we’ll live in decades to come, we’ll be better prepared to make smart decisions when the age of autonomous vehicles arrives.

The Future of Automobility is an online visualization of how life with driverless cars might really look and feel. It considers four scenarios: “Moving People,” which looks at how commutes will change when we can look away from the road; “Moving Things,” where we examine automated package-delivery fleets; “Moving Spaces,” where we envision mobile offices meeting people where they live and parking in underused areas of our cities; and “Moving Together,” which explores how the interior of future vehicles will be customized to meet our personal needs during ride-sharing.

The experience is as emotionally compelling as it is feasible, combining radical innovation in transportation concepts with immersive storytelling. It expresses not just our vision of the future, but also how we work, how we think, and what we value.

Want More?

IDEO alum Jonah Houston continues the conversation in a Medium article on how the horse can provide inspiration on designing modern driving interfaces.

Press‍

A Fascinating Glimpse at How We'll Carpool in 2027, WIRED
Imagining A Future Where Autonomous Cars Let Everyone Carpool, Fast Company
IDEO envisions ride-sharing car concept for 'the future of moving together', designboom
IDEO Visualizes the Role of Autonomous Vehicles and Ride Sharing, Core77

Awards

‍2015 Webby Awards

Once our hands are off the steering wheel and more vehicles are shared rather than owned, what will change in our lives?

I help organizations cut through complexity by shaping how they show up, through brand strategy, identity, and storytelling.

Working at the intersection of brand and business, I bring an editorial eye and a bias toward making—turning ideas into tangible experiences that people can understand, trust, and believe in.

My work spans government, healthcare, financial services, media, and consumer goods, from launching Gen Z-focused ventures to building innovation labs and reimagining legacy brands. I relish moments of ambiguity and enjoy translating across teams, perspectives, and priorities to move ideas forward.

I started my career in editorial and digital design, shaping cross-platform experiences and identity systems in publishing and agency environments. That foundation still shapes how I work today: I’m detail-oriented, collaborative, and overreliant on the Oxford comma. I hold a BFA in Visual Communication from the School of the Art Institute of Chicago.

For 25 years, I've asked the same question: Who does this design exclude—and what are we going to do about it?

My work spans human-centered strategy, inclusive design, and qualitative research, with clients ranging from Microsoft, Google, and Verizon to the National Science Foundation, and San Francisco Unified School District.

Before IDEO, I taught elementary school in East Palo Alto and spent a decade doing design work with social service organizations—where I learned firsthand what it costs people when systems are built without them in mind.

I am currently writing User Error, a nonfiction book about digital access and the design decisions behind it. I live in Oakland, California.

‍

My expertise spans brand, communication, and product design across tech, education, the arts, and social impact.

I believe great work demands both high-level vision and obsessive attention to detail, and only happens through collaboration.

I bring an inclusive, hands-on approach and a deep understanding of business, which enables me to consistently deliver excellence while always asking why.

Before joining IDEO, I worked at the brand firms Pentagram and VSA Partners. I began my career as a designer, leading teams at the School of the Art Institute of Chicago and the Milwaukee Art Museum. I hold an MFA in graphic design from Maryland Institute College of Art and a BFA in communication design from the Milwaukee Institute of Art & Design, and have taught at some of the best design schools in the US.

I am responsible for IDEO’s long-term success in China and working with clients to use design as a tool to enable growth. Specifically, I have helped Chinese companies design holistic brand solutions through the development of their products, communication, services, and innovation teams, and I have helped multinationals expand their presence and influence in China.

I advise global leaders on developing China-led innovation and capabilities.

In over 15 years in IDEO Shanghai, I have worked on projects that use design to elevate the quality of the experience of healthcare products and services, streamline processes that increase productivity, create spaces and programs that promote and enable inclusive communities, and build next generation mobility solutions that are planet-positive.

Before joining IDEO, I worked at Philips Electronics and the Electrolux Group in Italy, the Netherlands, and Singapore on a number of breakthrough commercial products. I am a member of the Young President Organization in Shanghai.

Most AI products today are built for work—a space with clear problems and established systems. One founder noticed a gap: personal life is messier, harder to systematize, and mostly left behind by the AI boom. So she built Cue, a personal AI that lives inside iMessage and group chats, to go where the other tools haven't.

‍

In this episode, Becca Carroll, IDEO's Chief Strategy Officer, talks with Sida Li, co-founder and CEO of Shared Context Lab, about staying anchored to a human need while the technology around her keeps changing shape, why she treats her business model with the same rigor she'd bring to a product, and what it feels like to build a company at this particular, disorienting moment in AI.

‍

The conversation also gets into how Sida makes design decisions: the language Cue uses to describe itself, the tradeoffs behind building inside iMessage instead of a new app, and a real story about a business idea that didn’t pan out.

‍

This is the second in a two-part series profiling founders from IDEO's Startups-in-Residence program. The first conversation is with Johannes Seemann, founder of Sooner, on designing GenAI for the emotional side of money.

Most personal financial tools are built to run the numbers and optimize towards a budget. While that works for some, most people experience money as a lived relationship that does not neatly fit into a spreadsheet. Johannes Seemann and Becca Carroll discuss why money is emotional before it is mathematical, and what a human-centered approach to building a generative AI financial product looks like in practice.

Mina Seetharaman talks with Scott Shigeoka, author of Seek and Head of Curiosity Cultivation at the Eames Institute, about what distinguishes genuinely curious leadership from performative curiosity, how power dynamics shape curiosity, and why practicing curiosity can restore energy rather than drain it.

Mina Seetharaman talks with David Epstein, author of Inside the Box and Range, about why total freedom often produces average work, how leaders can design useful limits on purpose, and what organizations such as General Magic and Pixar reveal about the relationship between boundaries and creativity.