IDEO and Fotile have had a relationship since 2009, working together on projects including a unified design language for product offerings, retail environments, and IoT strategy. For the dishwasher, IDEO and the Fotile research team came together for design research, shadowing Chinese families in different cities as they prepared meals from start to finish. Together they discovered that unlike in Western cooking, where several kinds of cookware are used for different dishes, Chinese cooks tend to use the same cookware to prepare all of their dishes.

That meant that the cookware needed to be cleaned several times during a single meal preparation, rather than once at the end. In this context, the sink serves different purposes over the course of cooking—it’s a place to wash and store prepped ingredients, rinse the cookware, and deep clean the dishes used in food prep and during the meal.

Based on this insight, IDEO made a list of product design recommendations that became Fotile’s Sink Dishwasher—a counter-level, multi-purpose appliance that specifically suits Chinese cooking habits. IDEO’s design guidance gave Fotile the confidence it needed to launch its product into the market, and served as a blueprint for the future iteration of Fotile’s Sink Dishwasher.

On March 25, 2015, six months after the project ended, Fotile launched the world's first sink dishwasher designed for Chinese families. Eight months later, its market share exceeded 30 percent, setting off a wave of innovation in the Chinese dishwasher category.

In 2016, Fotile introduced a three-slot dishwasher with an added compartment for cleaning fruit and vegetables—a direct response to a research finding that Chinese families are concerned about food safety. When this new model hit the market, Fotile’s dishwasher market share jumped to 41.1%. In China, Fotile is now synonymous with “sink dishwasher,” and the company has a widespread reputation among consumers as a symbol of a safe and healthy Chinese family kitchen.

Since its founding in 1994, Fotile’s Chairman, Mao Zhongqun, has made it his goal to “do nothing but build a high-end Chinese family brand.”

30%

Fotile Sink Dishwasher’s share of the market in China, just eight months after launch

41%

Fotile’s dishwasher market share after it launched a three-slot version in 2016

#1 selling brand

in the mainstream price segment of the Chinese dishwasher market as of August 2023

BoAo Group’s idea to design a new baby car seat was fueled by a newly revised minor protection law, which made using child safety seats mandatory beginning June 1st, 2021. As ZUOWE and IDEO looked around China’s emerging car seat market, the team noticed a singular focus on safety and safety features across most international and domestic brands. There was a clear opportunity for a new product that could meaningfully differentiate itself by not only providing safety features but also meeting the needs of modern Chinese parents.

To kick off the project, the IDEO team needed to answer two questions: What matters to the new generation of parents in China? And how will their style and approach to parenting affect their expectations for baby car seats? Taking into account the potentially different consumer needs in different geographies, the IDEO team headed to Shanghai, a city with more than 25 million people, and the city of Taizhou in Zhejiang province, which has a population of 2 million. They conducted in-depth home visits to local families, visited many brick-and-mortar mom-and-baby shops, and interviewed people like specialized nurses, parenting experts, and child psychologists. 

Despite the differences between the two cities, IDEO discovered commonalities during consumer conversations. Young Chinese parents were experiencing a perceived identity gap. As individuals, they felt they had distinct personalities and a clear sense of self. They actively expressed themselves through their clothes and belongings. But when they became parents, this sense of self weakened or disappeared completely.  Their identities shifted to being someone’s mom or dad overnight. This new generation was eager to show their unique approach to parenthood as they used to express their sense of self. But many products were designed for children, with little regard for parents. 

This core finding helped set the direction for the new baby car seat design and brand Maple&Co. However, there were still two significant challenges to overcome. One, IDEO needed to design a product with stringent technical regulations and standards on a tight timeline—ZUOWE wanted to launch the new car seat at an important industry trade show within the year. And two, the team had to help the organization transform its thinking and ways of working to be more consumer-centric.

BoAo’s strength lies in its 20 years of experience developing and manufacturing car seats for major domestic and international automotive brands. This gave the company an edge in overcoming technical barriers and driving mass production. But its engineering and manufacturing mindset had become a barrier to transforming into a D2C brand. With such ingrained ways of working, pivoting to a more creative process can be hard. 

To address this hurdle, IDEO set up co-creation workshops, bringing together ZUOWE’s newly formed baby car seat team and manufacturing experts from their factories to discuss design direction and details early on. The benefits of the collaboration were clear: It was easy to share feedback in a timely manner and make product design decisions very quickly. When IDEO presented a design that emphasized natural textures during a workshop on brand positioning, a member from Bo Ao’s manufacturing team said, “This feels very different. This could become a major selling point,” and that they had “never seen” anything like it done by other baby car seat brands.

A year after working together, ZUOWE Technology launched Maple&Co and the new Maple baby car seat across its main e-commerce channels. Modern and minimalist in soft natural colors and wooden veneers, Maple appeals to the aesthetics of young parents in China. Despite a series of micro COVID outbreaks in China, within three months, Maple had already achieved better-than-predicted sales and received favorable comments about the look and quality of the car seat from parents. Fast forward two years, additional collaborations with IDEO have enabled the young startup to grow its child travel portfolio from a signature car seat into a more holistic offering that includes highly functional, fashionable, and adaptable car booster seats and strollers that thoughtfully address the needs of modern Chinese families across various life stages at home—and on the go.

China's minor protection law mandated the use of child safety seats beginning June 1, 2021.

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Despite incoming regulations fueling a surge in purchases, car seats on the market rightly prioritized safety but did not consider the emotional needs and lifestyle preferences of a new generation of Chinese parents.

1 year

after the project ended, a new, differentiated baby seat product and brand, Maple&Co, launched

Top 6

during the 2023 “Double 11” shopping festival, Maple&CO secured the 6th spot on Tmall's new brand pre-sale list

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“Over a year ago, I had to take my cat to the vet for an unexpected and expensive surgery,” says one Card Member. “To be honest, I still don’t know if I’ve paid the bill off.”

Many crave the flexibility to pay for large purchases over time, but also want to avoid the pitfalls of debt. Others rely on debit or cash for small items—no one wants to accumulate interest on a cup of coffee, lunch with a friend, or box of Kleenex—but then miss out on valuable rewards.

American Express worked with IDEO to help them attract new customers by understanding what financially stable young adults wanted in a credit card. The team began by interviewing more than 120 millennials to understand their payment behaviors around debit and credit, and how they think about borrowing and spending.

One person described the monthly panic of receiving his bill—described as “statement shock”—and his habit of making multiple payments before his billing cycle closed to ease this anxiety. Others were wary of credit because of a large veterinarian bill or financial mistakes made in their 20s, and relied on debit because it felt safer than accruing a balance to pay off. Overall, the team learned that many consumers experience anxiety about paying their bills. And while financial products that offer more flexibility and control have been needed for years, they are especially valuable in times of economic uncertainty like today.

Based on this research, IDEO prototyped, iterated, and refined two concepts, with frequent feedback from users and the client. Called Pay It Plan It, this feature offers financially responsible consumers more transparency, confidence, and control.

Pay It allows Card Members to quickly pay for small purchase amounts under $100 with a few taps in the American Express mobile app. When that purchase shows up on their account, they can choose “Pay It” and still earn rewards on the purchase. This ensures Card Members can take advantage of rewards while lowering their monthly bill by paying for smaller items throughout the month.

With Plan It, Card Members can split up larger purchases of $100 or more—like an emergency trip to the vet or a new sofa—into equal monthly payments, with a fixed fee and no interest. When the purchase appears in their account, they can select “Plan It,” and will be offered up to three monthly payment plans, ranging from three to 24 months. Each plan comes with a fixed monthly fee and no interest. Card Members know exactly how much they have to pay each month, so there are no surprises. And if they pay the purchase off early, they no longer have to pay any future plan fees.

The design of Pay It Plan It did not come without challenges: Bill pay is critical, complex, and highly regulated. Pay It Plan It required a significant internal financial and technical investment, which was achieved after IDEO shared many of the emotional, compelling stories from credit card users with leaders at American Express.

The team worked closely with the American Express regulatory and digital teams to ensure compliance and seamless integration into the mobile app and website’s user experiences and interfaces. To heighten the sense of competence, control, and transparency for users, the designers focused on small interactions like status animations, proactive suggestions, and straightforward language. These interactions help Card Members anticipate upcoming payments and clearly understand Pay It Plan It.

Plan It was designed with transparency, control, and accessibility in mind: The payment plan fee is displayed in dollars to give the customer certainty over their total costs.

Initially, the team set out to create a new credit card with the needs of young adults in mind. But IDEO and American Express realized that Pay It Plan It could be scaled across existing credit card products to ultimately benefit and attract more Card Members. Now, almost all U.S. American Express Consumer Card Members have access to Pay It Plan It through credit cards, co-branded cards, and the well-known Green, Gold, and Platinum Cards. Since launching in 2017, Card Members have created nearly 5 million Plans, totaling nearly $4 billion in purchases, with an average Plan size of $789. Millennial and Generation Z Card Members have created approximately 44 percent of these Plans.

The flexibility and control offered through Pay It Plan have earned American Express positive press, including a call-out in The New York Times for being among solutions that “make it easier for their customers to borrow money, and to manage their monthly cash flow.”

At first glance, design-led innovation may seem difficult to achieve in large, established organizations like American Express, operating in a highly regulated and deeply rational industry. But the IDEO and American Express team successfully found ways to introduce new behaviors like rapid prototyping, cross-discipline collaboration, and leading with emotional customer stories within the existing organizational culture and structure. American Express has since established a permanent Pay It Plan It team dedicated to evolving the feature. Made up of employees across departments, this points to a new and collaborative team structure for the company.

By seeking to understand the human behind the Card Member, American Express has transformed credit and financial services for the better, helping both to be defined by empathy, utility, and transparency.

For more than two centuries, The Times held a strong reputation as a storied British newspaper. Then came the digital deluge. Publication after publication began adopting a relentless online publishing schedule aimed at capturing eyeballs and subscribers, and guarding against waning advertising sales and print readership. But The Times and its sister publication The Sunday Times thought there might be a different way forward.

As Editor John Witherow explains, “the power of an edition” had long endured at The Times, but began to erode amid a round-the-clock breaking news cycle. Witherow didn’t want to do away with editions, but rather to update the model for the digital age. Times owner News UK approached IDEO in 2014 to explore exactly that: what the edition of the future might look like and how its design could drive revenue and subscribers.

IDEO’s research and design phase included interviews with readers, journalists, editors, and marketers at News UK. The team found that people’s reading modes vary—some reflecting new digital behaviors and others adhering more closely to paper-reading styles.

Readers, the team learned, chose The Times for its editorial opinion: a perspective that cuts through the overwhelming flood of information. They viewed the daily Times and weekend Sunday Times as one paper, despite the organizational distinction. And they were proud of their choice, valuing the papers’ consistency, trustworthiness, balance, and authoritativeness. Readers wanted these qualities distilled in a digital edition, whether on a smartphone, tablet, or on the web.

Those insights led to strategic recommendations spanning digital products, editorial, advertising integration, online membership offers, and social sharing. But the boldest among those was a publishing strategy that seemed to run counter to media trends: abandoning a real-time approach in favor of publishing separate digital editions.

The Times in March 2016 introduced an editions-based publishing schedule, with new editions available across all platforms four times each weekday: overnight, 9am, noon and 5pm; the weekend schedule shrank to three editions. A year in, they had broken that schedule fewer than a dozen times—making exceptions for major moments like the terror attack in central London and David Bowie’s death—but even in those cases, The Times refrained from incessant updates, instead resuming its regular pacing.

“The way we’re publishing now, taking our time over news...taking a more considered view of the world, it’s helped us offer something different from everything else,” digital news head Alan Hunter told Digiday in 2018. Readers demonstrated that this different approach was something they’d been wanting.

In the first half of 2016, new paying-subscriber sales were up 200% as compared to the same period in 2015. At the end of June 2016, there were 413,600 subscribers to The Times and The Sunday Times, up 3.4% from a year prior. Of those, 182,500 were digital-only subscriptions—a 6% rise and a notable figure given how much online news can be obtained for free.

Through collaboration with IDEO, News UK's own digital teams capabilities grew, enabling them to implement and evolve their new digital strategy. The capabilities of the newsroom grew, too: “The decision to move to four editions a day has freed up tremendous resources to focus on big stories,” says Emma Tucker, Editor of The Sunday Times—the kind of stories that "supercharge engagement." The approach is working: By August 2019 digital subscriptions had increased 19% year-on-year to 300,000, showing the progress the legacy publisher has made in attracting readers to its online proposition. Total subscribers for the two titles' print and digital products now stand at 539,000, and their websites total five million registered users.

More than 230 years after its first edition was published, the new Times has established solid footing in the digital age and designed its own future—one based not on the habits of its competitors but on its legacy and the reading behaviors of its audience.

In exploring the topic, I soon realized the issue was not the lack of stuff he would leave behind when he passed away, but rather quite the opposite. Today, a digital information overload is present for almost all of us.

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As the techie of the family, I’ve taken on the role of digital archivist for two close loved ones we’ve lost over the years. My brother died in 2003, and 15 years is a very long time ago in technological terms. Nonetheless, I was able to build an archive of his photos, MP3s, school papers, personal documents, and other digital fragments. I felt closer to him because of this.

Today of course, we have social media, and it’s a cultural trope to say that we live out our lives publicly on it. But social data only represents a limited and curated self that we share with the world. Our digital footprint is vast. Beyond our social data, we have our emails and chat histories, the photos and videos we take, the photos and videos others take of us, and our web searches—all of which are rich with metadata, including time, date, and location.

IBM estimates that humanity is generating 250 billion gigabytes of data every single day, and that 90 percent of all the data ever created by mankind has been generated in the past two years alone. In just two years, we’ve surpassed the volume of the entire record of human knowledge from cave paintings up until the end of 2015.

Consider that we’ve only had photographs for a few generations. I can look back at this photo of my young grandfather and his rugby team in County Sligo, Ireland, but we have no photos of his grandfather. Until quite recently, most of humanity never had any record of how their ancestors looked—something we take for granted today. Even the written word was not always ubiquitous; just 200 years ago it’s estimated that only 12 percent of the world’s population was literate.

The digital records for people over a certain age are inherently incomplete, but the younger you are, the more complete your picture is, whether you created it yourself or it was captured by your parents as they documented your childhood to share with Grandma. In the historical blink of an eye, our digital footprints have gone from spotty to distinct—a complete picture of our online lives.

This begs the questions: What if we left our digital footprints behind intentionally? How might we curate, filter, or amend our digital records as we plan for our own end of life?

There are a number of emerging technologies and techniques that can help us design our digital afterlives. If you’re interested in training a chatbot to mimic you, you can begin today with Replika.ai, a bot that learns to be more like you the more you use it. The team behind it has even open-sourced their underlying chat tech on GitHub.

VocalID is a company that allows people to preserve their vocal legacy by recording a set of voice samples. Its primary customers are people who lose their voices—for example those with ALS or Parkinson’s. Could people give these voice samples to family members after their deaths, or request that their voices die with them?

Beyond text, researchers at the University of Washington have shown that with a broad enough set of video samples, we can train an AI to create entirely new video clips of the same subjects. And emerging technology called “deep fakes” can use machine learning to swap faces in online videos.

Synthesizing Obama: Learning Lip Syncing from Audio. University of Washington.

The collision of our immense datasets with rapidly advancing abilities in machine learning is not only inevitable, it’s happening now. Roman Mazurenko is a digital avatar of the real Roman built by one of his grieving friends after his death. Anyone can download it/him from the app store.

This is not about the singularity or transhumanism; I’m not talking about uploading my consciousness to the cloud to create Virtual Sean. But rather, how might our loved ones experience us differently after we pass?

In the future, we’ll have new ways to preserve more bits and pieces of ourselves— our voices, photos, texts, etc.—and new ways for our loved ones to experience this ephemera. There will be new challenges as well. Much of the data we create is invisible to us and is not under our direct control or ownership. When we pass, this data will live on, whether we like it or not.

I expect that you might be simultaneously intrigued and concerned by this topic; that’s to be expected. But just as we must one day face the end of our lives, we must also grapple with our digital identities and digital legacies.

Let’s get the dialogue started.

A few months ago, my cousin asked me about his digital legacy. He asked how his kids could explore his personal artifacts—his ephemera—in the digital age, when there are no vinyl records, physical photographs, or even MP3s to hand down.

In the design world, the practice of critique relies on a universal language learned in art school. Students routinely pin their work up on a wall, and offer feedback in the same way that was modeled for them. From industrial to graphic design, students learn a shared form of expression that allows them to engage with each others’ work and make suggestions for how it could be better.

Perhaps leaning back, stroking one’s chin, and groupthinking creative work is like dancing about architecture, but at least in art school, everyone knows the steps to the dance.

In the modern world of design work, that’s no longer the case. I joined IDEO more than 10 years ago. Since then, the number of disciplines we practice have mushroomed from around 10 to 33. Our backgrounds vary wildly, as do our outputs—from artifacts to interventions, micro to macro, processes to systems. And we’re not the only ones working this way. Multidisciplinary teams are more and more common across industries, and each discipline or practice brings its own jargon—and methods of critique.

In other words, the language barriers teams have to deal with are increasing.

So, how does a data designer critique a teammate’s copywriting? How does a graphic designer articulate her intuition about business design? How does a multidisciplinary team find a universal language to discuss the strengths and weaknesses of a proposed solution?

These questions sent me and a few coworkers off on a assignment. We set out to create a shared vocabulary for critique that would be broad enough to serve the challenges of today. We started by asking: What qualities do we most associate with creative excellence in our work? And, how might critique help ensure our solutions have the desired impact? We came up with an initial prototype, and tested it with teams in the wild.

That experiment illuminated a few things:

• Different disciplines do use different language for talking about their work
• What good looks like is about both process and outcome
• Designers are hungry for this conversation

So, we continued to test the vocabulary. The list diverged and converged until we landed on a set of seven key words, knowing that each is but a doorway into a world of meaning with many interpretations.

1. Beauty
2. Brains
3. Bravery
4. Destiny
5. Heart
6. Magic
7. Mastery

(You can download the cards here.)

The qualities are intentionally open-ended so that all designers (err, all humans) can relate, and so that they can be interpreted in ways that are appropriate in a given context.

The vocabulary was immediately valuable, helping designers move beyond binary sentiments of what is “working” and “not working,” to a more honest and nuanced discussion about the strengths and weaknesses of the work.

Imagine a critique that goes something like this:

Lauren (Software designer): How are you feeling about the content?

Jason (Writer): A little bored.

Lauren: Well, it’s a dry subject.

Jason: But people are people. If I’m bored writing it, they’ll be bored reading it.

Lauren: True. But if you’ve nailed the technical aspects maybe we can play a little...what do you think it needs?

Jason: Heart...maybe some Bravery...

Feels a little like dancing, right?

And that is just a snippet. The vocabulary provides an entry point into deep craft critiques that go well beyond aesthetics, or anything we can pin on a wall. As one coworker remarked to me, “We started thinking about beauty in relationship to an org chart—how it could be graceful and smart.”

The shared language is also useful outside of a design team.

Team member: We use this vocabulary to make sure our work is as bold, innovative, and effective as possible. How do you think your organization might respond to these prompts?

CMO: We are all about data...so that sounds like rigor. Teams are paralyzed until they have all the data. I don’t expect that will change over the course of this project, but I would love for you to help us see the value of beauty and bravery.

With a shared language, we are able to not only name our tendencies (as this CMO did), but identify strengths and weaknesses across the seven qualities, both specific to each discipline’s contribution, and as a whole. This builds empathy and understanding for individual efforts on a team, and creates agreements for how to further develop the work.

In our New York studio, we have been using the vocabulary as a way to reflect on our entire portfolio. As a community of intense New Yorkers, we had assumed that rigor and brains would surface. But as we critiqued our work from 2017, we realized that the work that embodied magic and heart in equal parts was what catalyzed clients and made us most proud.

Realizations like this brought up some compelling questions:

How do we embrace magic and heart in our business development process?

What does the resonance of magic and heart say about New York (and the world) today?

How do we want to stretch and grow in 2018?

In just over a year, the critique vocabulary has helped us reach a new level of discourse and awareness. It has pushed us in new ways, as individuals, teams, and a community. It has opened up new conversations with our clients, and given them language to more deeply engage in our work together.

And this is just the beginning.

Vocabulary is never fixed. It is a living organism that will evolve with time. We hope you will take this critique vocabulary and make it your own.

As we face increasingly complex design challenges, and creative, multidisciplinary teams are called upon to solve them, rigorous critique will be essential.

We can only hope it feels like dancing.

Shout out to IDEO Cambridge, Chicago, and New York for collaboration on these cards. Download the cards here.

Writing about music is like dancing about architecture. The adage has been used in countless ways since the early 1900s, and it’s still the best way I know to describe the challenge of critiquing creative work. What it means to me is, we’re using the wrong language, but it’s all we have.

For Rina, these tiny pointillist masterpieces are about more than just a side project. “Because I have a fast-paced, collaborative job, I love having an environment that allows me to slow down and reflect,” she says.

Years after she and I worked together—back when she was an associate art director at Wired—a friend took me to see her show in a Brooklyn coffee shop. Though the concept was simple, the work was incredibly engaging. I caught up with Rina to learn more about her art, her process, and how “_leafiness_” (her handle on Instagram) helps her meditate and stay creative.

In one sentence, who are you?

An art director, artist, and nature lover.

What do you do? How did you learn it?

I was lucky to study at the School of Visual Arts in New York with amazing mentors and teachers.

In my free time, I paint leaves, though that happened by accident. I live in Park Slope, where the leaves are really beautiful in the fall. I started picking them up on walks, and I happened to have some oil-based pens from a glass project I had done. I got inspired by the shapes of the leaves, and started using the pens—it just happened without me even thinking that much about it. I find it extremely soothing. Many people work together to figure out what goes on a magazine page. It requires a lot of communication, understanding, and clarity. But with this, there’s no one else to weigh in. It’s my yoga.

3 favorite possessions?

1. Black and white photographs of my family in Russia, where I was born. I moved here with them from Moscow when I was 18.
2. Jewelry from my grandma that I never wear but always keep.
3. A collection of handmade paper that I haven’t found a project for yet.

What does a typical work session look like?

I usually get the idea for what I want to do with a leaf in the morning, then do the repetitive work in the evening. Most of the time, I don’t listen to music, but if I do, I listen to meditation music. Otherwise, I end up analyzing the music instead of focusing on what I’m doing. It’s important to be fully in control of your process. It really teaches me to make decisions and be confident in them.

How do you get over creative block?

Fortunately with leaves, I haven't encountered creative blocks yet. It really puts me in a different state, and helps quiet my mind when I make decisions.

What was the last item on your to do list?

Go to the New York Botanical Garden Herbarium. I want to learn different techniques for collection and preservation.

How do you see the world in 2078?

I hope that technology will get better at allowing us to manage and do things faster and easier, but I also hope that in the process of getting there, we can maintain the environment that we need to live.

What’s your number one bucket list item?

I want to live in Italy and speak Italian. The language is so beautiful.

Who are you creative crushin’ on lately?

My crush right now is the artist Sheila Hicks. The thing I absolutely love about her is that she’s still inspired and creating art at the age of 83. No matter how small or large her work—big, sculptural balls of wool fiber, or something tiny—it has this amazing impact. She’s so fluid in expressing any possible emotion. It’s so important to have that in your life, especially over such a long period. To me, she is the luckiest person on earth.

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By day, Rina Kushnir works with illustrators and designs layouts for the New Yorker. But on her own time, she paints leaves she collects in her Brooklyn neighborhood, meticulously studying their patterns and adding dots of oil paint, punched holes, and patterns.

I had some time to kill so I asked a few questions. He neatly tied his theory to aliens, a league of physicists, and a deal with China. Crazy, you might say, but research suggests that the majority of us believe in at least one conspiracy theory.

We’re living in a tornado of misinformation, conspiracies, and fake news. But instead of simply lamenting that fact as you continue scrolling through your feed, let’s learn from it.

As a designer who works to help school systems become more innovative, it’s my job to help spread good ideas. Why not borrow from the sticky, sharable methods behind conspiracy theories to get some good ideas out into the world?

After chatting with my friend at the auto shop, I took a long look at what makes conspiracy theories so compelling and came up with a list of five practices we can nab to spread good. (Know Rogers’ Attributes of Innovations that spread? Conspiracies fit right in!)

1. Start with something recognizable

Memorable conspiracies begin with something familiar—an entrenched belief or a curious phenomena.

The “chemtrails” conspiracy, for example, says that planes leave behind biological agents with lasting effects on the population. People saw white lines in the wake of airplanes in the sky and wondered about it. From this, a new belief was formed.

There’s a lesson here for getting new ideas to take off! Try introducing new concepts through existing beliefs, habits or built-in systems. When we talk about design thinking with educators, for example, we often note that prototyping is just like doing a lesson twice in the same day, but differently. This helps educators reconcile a new practice with an old one.

2. Address a common pain point

Most conspiracies offer up a scapegoat.

It’s common to blame Big Pharma, for example, for withholding cures to diseases for profit.

Blaming large groups of people for complex problems isn’t a good habit. But, when sharing good ideas, we can change the script on scapegoats by proposing a partner to help solve a problem. Leaders in the civil rights movement, for example, helped to spur a broader conversation about women’s liberation—both movements were helped by the other.

3. Let people dream

Some of my favorite conspiracies allow farfetched wishes to come true. Tupac and Elvis, they’re still alive! These conspiracies are rooted in desire. To help new ideas take off, connect them with people’s wildest dreams.

4. Create iconography to build identity

When we see alien iconography out in the world, it gives us a sense—true or not—of how widespread belief in alien life may be. In Roswell, New Mexico, you can pick up all kinds of little green man kitsch—T-shirts with slogans like ALIENS ARE ALIVE and bug-eyed masks at the International UFO Museum. We’re much more likely to believe something when we think lots of other people do, too.

5. Keep it simple

Lasting conspiracies are easily explained in a sentence or less.

The Moon landing hoax, for example, makes a clear and simple argument: Americans wanted to outpace the Russians in space exploration, so they faked the landing on the Moon. The details of how and why may be a wormhole, but the thesis is simple.

Likewise, when you want to share a new idea, make sure that its value is explained simply and unambiguously. The #neveragain movement managed to powerfully convey its message with a simple hashtag.

Conspiracy theories and fake news teach us a lot about how information spreads—and that can be useful as we try to spread good in the world. Here’s one last lesson: All of us believe in something that’s not entirely true. Our shared habit of believing things we want to be true—regardless of what they are—unites us.

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On a road trip up the coast of California, I ended up stuck at an auto repair shop with a man who had some interesting ideas. “The government has a zero-point energy machine that could end our reliance on fossil fuels,” he told me.

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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.

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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.