1. Design in figures

2. Study background  Study commissioned by Design Flanders  Scope of the study : design in Flanders, the figures?  Figures on Flemish design businesses  Figures on design related educations and professions  Figures on design and leisure time  Figures on design and Flemish popular media  Conducted from December 2005 to February 2006 by the research agency Compagnie. Different research methods were combined:  Quantitative survey by phone  Desk research  Qualtitative in-depth interviews  Content analyses

3. Design in Flanders: the figures?  The figures show, after extrapolation, that Flanders disposes of 12.OOO design businesses (businesses that are part of the core-design industries and see design as their main activity). One could consider an additional 67.000 Flemish businesses active in design, but not in the design industries as such.  The turnover of these 12.000 design-businesses ads up to almost 16 billion euros. And if taking into account the larger scope, a turnover of about 175 billion euros can be related to design in Flanders.  In Flanders almost 11.000 jobs are purely design-jobs, 200.000 jobs are design related.  ± 7.000 students attended the last year of a education in which design has a (limited) place, and about 500 students attended the last year of a education that prepares for a design profession directly.  In Flanders, approximately 550 000 persons have a design related leisure activity  In Flanders ± 800 000 persons attended a design related event, activity or fair during the past 12 months.

4. Structure of this report Design businesses Design professions Design as leisure activity Design and popular media questions approach answers

5. Structure of this report Design businesses Design professions Design as leisure activity Design and popular media questions approach answers

6. Design businesses: questions  How many businesses in Flanders are active in design?  How large are these companies: revenues, profit, employment?  How do these design businesses fall into the different types of design?  How many orders did these businesses receive during the past 12 months? Is there an evolution in comparison to 5 years ago?  What are the distribution channels of these businesses?

7. Defining the scope of this study: operationalisation of ‘design’, ‘designer’, design business’ (based on previous reseaurch and literature) Defining the subject of this study: who (what businesses) will be considered, starting off with all Flemish businesses. Getting the answers: datacollection and analysis, through telephone and written questioning of the sample. 3 2 1 Design businesses: approach

8. OPERATIONALISATION OF ‘DESIGN’, ‘DESIGNER’, ‘DESIGN BUSINESS’ DESIGN =  Development of new PRODUCTS or improvement of existing products  Development of new PACKAGES or improvement of existing packages. It concerns different ways of wrapping, as well as packing materials or the look of wrappings  Design of a company’s VISUAL PRESENTATION : logos, letter heads, websites, dress code...  Design of PROMOTION and advertisement, mailings, leaflets, etc.  INTERIOR design (of shops, offices, houses...)  Distribution and SALE of design products 1 Design businesses: approach

9. DESIGNER = Each person (self-employed or as employee) whose job is the development, rethinking, designing. It is not important whether or not this person has followed a relevant training/education for these tasks. DESIGN BUSINESS = Each business of which one of the 6 design domains is the main activity. 1 Design businesses: approach OPERATIONALISATION OF ‘DESIGN’, ‘DESIGNER’, ‘DESIGN BUSINESS’

10. 2 DEFINING THE UNIVERSE TOTAL’ UNIVERSE: all Flemish businesses, with the exception of farming, hunting, fishing, forestry, extraction of natural resources and education, health care, households, extraterritorial organisations Design businesses: approach

11. 2 All Flemish businesses (TOTAL UNIVERSE): all remaining businesses (BROAD UNIVERSE): all businesses belonging to the typical design industries (CORE UNIVERSEUM): 443.702 23.931 419.771 Defining 2 potentional groups of business within this total universe: design businesses in the narrow sense and design businesses in a broader sense. CORE UNIVERSE = those businesses in Flanders that belong to the typical design industries BROAD UNIVERSE = those businesses in Flanders that don’t belong to typical design industries Design businesses: approach DEFINING THE UNIVERSE

12. 2 CORE UNIVERSE All Flemish businesses belonging to the typical design industries. Design businesses: approach DEFINING THE UNIVERSE

13. Total sample of Flemish businesses (TOTAL): sample from the remaining businesses (BROAD): sample from the design-businesses (CORE): n=1.101  weighted representatively n=498 n=603 Design businesses: approach 2 DEFINING THE SAMPLES

14. 3 DATACOLLECTION Samples were subjected to the following questionnaires:  DESIGN CHECK (total sample)  economic activity?  turnover?  number of fulltime jobs?  number of fulltime design related jobs?  (per design domain) in-house designers?  (per design domain) main activity?  (per design domain) cooperation with external party?  DESIGN FILES (core sample)  number of design orders?  number of vacancies for designers?  distribution channels?  percentage purchase from suppliers?  profit margin? Design businesses: approach

15. designBROAD:design CORE: (out of a total 23.931) (out of a total 419.771) 16% has design as main economic activity ± 67.000 businesses 49 % has design as main economic activity ± 12.000 businesses The figures show, after extrapolation, that Flanders disposes of 12.OOO core design businesses (businesses that are part of the core-design industries and see design as their main activity). One could consider an additional 67.000 Flemish businesses active in design, but not in the design industries as such. Flemish businesses Design businesses: answers IMPORTANCE OF DESIGN IN FLEMISH BUSINESSES

16. 33% 24% 57% 58% 32% 90% 23% 21% 44% Design businesses: answers product design graphic design interior design SPECIFIC DESIGN ACTIVITY WITHIN THE CORE DESIGN INDUSTRY Design is main activity Design is side activity BASE: core design businesses A cluster analysis on the 5 design domains resulted in 3 clusters (graphic, interior and product design). The ‘graphic design’ cluster contains design of packages, visual presentation and promotion. + 9% distribution and sale of design products as main activity

17. The core design businesses have a avarage of 3,15 jobs per business. Almost one third of these jobs are design related. This results, after extrapolation in almost 11.000 core design jobs. In a broader sense: the average Flemish business stands for 5,8 fulltime jobs, of these jobs 9% are design related. Extrapolation results in a total of approximately 220 000 broadly design related jobs in Flanders. designjobs other jobs BASIS: representative sample of Flemish businesses 91% 9% 29% 71% BASIS: core design businesses Design businesses: answers JOBS AND DESIGNJOBS

18. Design businesses: answers VACANCIES WITHIN THE CORE DESIGN INDUSTRY Less than one out of five design businesses ‘pur sang’ had a design related vacancy during the past 12 months. In the majority of the cases these vacancies could be filled. 80% 16% 2% No vacancies One vacancy Several vacancies No answer 18% at least one vacancy 0,93 of these have been filled

19. 43,3% less than 100.000 EURO 16,9% 100.000 - 250.000 EURO 6,4% 250.000 - 500.000 EURO 1,1% 500.000 - 750.000 EURO 3,0% 750.000 - 1 million EURO 3,2% 1-5 million EURO 25,2% more than 5 million EURO 1% Design businesses: answers Turnover when extrapolated: almost 16 billion EUROS BASE: core design businesses no answer TURNOVER WITHIN THE CORE DESIGN INDUSTRY

20. TURNOVER IN GENERAL ± 159 milliard € ± 67.000 businesses ± 16 milliard € ± 12.000 businesses Design businesses: answers designBROAD:design CORE: Flemish businesses

21. Design businesses: answers ORDERS WITHIN THE CORE DESIGN INDUSTRY  an average of 53 projects commissioned by clients  an average of 12 projects as subcontractor  an average of 5 projects for internal purposes 39% 44% 12% 6% 21% 50% 21% 8% 32% 54% 5% 9% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Noticed increaseStatus quoNoticed decrease No answer Orders commissioned by clients As subcontractor Projects for internal purposes BASE: core design businesses

22. 8% 11% 18% 65% Design businesses: answers DISTRIBUTION CHANNELS WITHIN THE CORE DESIGN INDUSTRY art galleries wholesale and retailers fairs, internet, other channels company only

23. Structure of this report Design businesses Design professions Design as leisure activity Design and popular media questions approach answers

24. Design profession: questions  How many persons with a design related job are there in Flanders?  What is the degree/education of these persons?  Do they attend design related extra training courses?  How many students graduated in design related disciplines (school year 2004-2005)?

25. Design profession : approach  by means of education statistics of the Flemish government (Statistical Yearbook of Flemish Education Schoolyear 2004-2005, January 2006).  distinction between design minded courses that do not necessarily result in a profession as designer, and pure design disciplines.  by means of a consumer survey (by phone), included in a multiclient omnibus ( n= 1.708 active Flemish population)  short questionnaire (self reporting) on respondent’s profession, specific training, extra design-related training courses. OVERVIEW NUMBER OF STUDENTS IMPORTANCE OF THE DESIGN SECTOR ON EMPLOYMENT

26. Design profession : answers STUDENTS IN SECONDARY EDUCATION  number of senior year students in design minded education:  secondary education, Arts (KSO):1 052  secondary education, Technical (TSO): 326  REMARK: secondary education, general: not one curriculum can be considered as design minded  secondary education, Professional (BSO): 865  the total number of senior year students in secondary education is 59 269. 2.243 (3,78%) of these are in a design minded discipline. The majority is situated in secondary education in arts.

27. STUDENTS ENROLLED IN HIGHER EDUCATIONAL PROGRAMS NOT PROVIDED BY UNIVERSITIES (1)  In 2004 – 2005, 20 067 students were enrolled in programs in which design of products and services forms part of the educational curriculum.  They represent 18,40% of the total number of students enrolled in the programs of higher education.  78,29% of the students in higher educational programs with focus on design, are males. We must, however, stress that a large part of these students are enrolled in engineering and information technology programs. But, also the program “industrial design” counts 2/3 of male students.  2.877 students are enrolled in educational programs with a strong focus on design activities (they form 3% of the total population of students enrolled in higher education outside universities).  17.190 students are enrolled in educational programs that may lead to a profession in which design plays a major role (they form 17% of the total population of students enrolled in higher education outside universities) Design profession : answers

28. STUDENTS ENROLLED IN HIGHER EDUCATIONAL PROGRAMS NOT PROVIDED BY UNIVERSITIES (2) Designer programs Programs that may lead to a profession as designer Interior design1.227Plastic arts77 Interior architecture314Multi-Media arts788 Plastic design83Visual arts2.676 Product design64Audio-Visual technologies781 Graphic and digital media312Electro-mechanics3.511 Industrial graphics276Electronics (ICT)1.539 Engineering and design technologies126Electrical engineering162 Textile: design, applications technologies19 Multi-media & communication technologies988 Industrial design99Industrial sciences3.124 Product development357Informatics / Computer sciences157 Applied informatics/computer sciences3.387 Total2.877Total17.190 Design profession : answers

29.  In 2004 – 2005, 3.959 students were enrolled in the senior year of programs in which design of products and services forms part of the educational curriculum.  They form 17% of all senior year students enrolled in higher education outside universities.  509 senior year students are enrolled in pure designer programs (i.e., 2,5% of all senior year students enrolled in higher education outside universities)  3.450 senior year students are enrolled in programs which may lead to designer professions (i.e., 14% of all senior year students enrolled in higher education outside universities). STUDENTS ENROLLED IN THE SENIOR YEAR OF HIGHER EDUCATIONAL PROGRAMS NOT PROVIDED BY UNIVERSITIES (1) Design profession : answers

30. STUDENTS ENROLLED IN THE SENIOR YEAR OF HIGHER EDUCATIONAL PROGRAMS NOT PROVIDED BY UNIVERSITIES (2) Designer programs Programs that may lead to a profession as designer Interior design316Plastic arts41 Interior architecture33Multi-media arts142 Product design17Visual arts454 Industrial graphics19Audio-visual technologies147 Textile design, applications technologies11Electro-mechanics1.080 Industrial design27Electronics (ICT)400 Product development86 Multimedia and communication technologies210 Informatics / Computer sciences39 Applied informatics/computer sciences937 Total509Total3.450 Design profession : answers

31. STUDENTS ENROLLED IN UNIVERSITY PROGRAMS Programs that may lead to a profession as designer  In 2004-2005, 3.396 students were enrolled in a university program in which design of products and services forms part of the educational curriculum.  They form 5,96% of all students enrolled in universities.  74,29% of these students are males. We must, however, stress that a large part of these students are enrolled in engineering and information technology programs. Total3.396 Electro-technology336 Engineering869 Material Studies52 Sciences of the arts and Archeology817 Informatics1.041 Applied informatics55 Computer sciences226 Design profession : answers

32. SENIOR YEAR STUDENTS ENROLLED IN UNIVERSITY PROGRAMS  In 2004-2005, 625 senior year students were enrolled in a university program in which design of products and services forms part of the educational curriculum.  They form 6,13% of all senior year university students. Sciences of the arts and archeology173 Informatics217 Applied informatics36 Programs that may lead to a profession as designer Totaal625 Computer sciences78 Electrical engineering101 Material studies20 Design profession : answers

33. SPECIALIZED COURSES AFTER HIGHER EDUCATION (1) Programs with a strong focus on designer skills:  Integrale productontwikkeling (product development): 7 students enrolled in 2004-2005 (Katholieke Universiteit Leuven i.s.m Hogeschool West-Vlaanderen)  Beeldende Vorming: 6 students enrolled in 2004-2005 (Katholieke Hogeschool Zuid-West-Vlaanderen).  E-design: 30 students enrolled in 2005-2006 (Hogeschool Gent)  Design and architecture : 50 students enrolled (Katholieke Hogeschool Mechelen, Faydherbe Academie)  Meubelontwerp (furniture design): 20 students enrolled in 2005-2006 (= max.) (Katholieke Hogeschool Mechelen)  Product Innovation & Entrepreneurship: starts in 2006 (Universiteit Antwerpen Management School)  Antwerp Design Seminar and Lectures (number of subscribers unknown). (Associatie Universiteit en Hogescholen Antwerpen). Design profession : answers

34. SPECIALIZED COURSES AFTER HIGHER EDUCATION (2) Programs that may lead to a profession as designer  Artistieke en kunstzinnige vorming: 10 students enrolled in ‘04-’06 (program spread over 2 years) (Hogeschool Antwerpen)  AutoCAD (BASICS): 15 students enrolled in 2005 (Hogeschool Gent)  AutoCAD (3D): 15 students enrolled in 2005 (Hogeschool Gent) Design profession : answers

35.  In 2005, 2 788 persons enrolled for SYNTRA courses with a strong focus on design. Participants who complete the course receive a certification. SCHOOLING OFFERED BY SYNTRA (Flemish Government) (1) Candle maker12 Glassblower (show objects and user objects)32 Glassworker39 Stained-glass artist80 Juweler goldsmith187 Manufacturer of ceramics78 Ornamental metal worker48 Designer of juwelery37 Pottery making90 restorer of ceramics11 Plastic worker (manufacture of objects, devices, tubes, …)2 Polyester worker (manufacture of objects, devices, tubes, …)86 Ornamental painter23 Design profession : answers

36. DESIGN MINDED EDUCATIONS ORGANIZED BY SYNTRA (2) Interior designer294 Stage designer 27 Window-dresser158 Visual merchandiser32 Woodcarver-ornamentworker20 Wood turner10 Furniture maker137 Upholsterer367 Desktop publisher472 Digital photography22 Photographer332 Graphic designer61 Web designer131 Total2.788 Design profession : answers

37. SPECIAL ADULT EDUCATIONAL PROGRAMS AIMING AT SOCIAL ADVANCEMENT (education of adults) (1)  In 2004, 7.112 adults were enrolled in secundary education programs in which design of products and services forms part of the educational curriculum.  They form 2,44% of all adults enrolled in programs that lead to a certificate of secundary education.  In 2004, 3.132 adults were enrolled in higher education programs in which design of products and services forms part of the educational curriculum.  They form 11,45% of all adults enrolled in programs that lead to a certificate of higher education. Design profession : answers

38. SPECIAL ADULT EDUCATIONAL PROGRAMS AIMING AT SOCIAL ADVANCEMENT (education of adults) (2) Diamond works32 Photography394 Desktop-publishing17 Digital communication70 Printing64 Printing techniques13 Electronic page layout &multimedia5.126 Photografic printing & processing techniques279 Multimedia36 Design and illustration58 typographer - offset printing68 Applied graphic techniques73 Woodworking454 Furniture and interior design6 Cabinet making160 Furniture makin151 Precious stone setting39 Goldsmith’s art30 Decorative forging42 Total7.112  Programs in secundary education Design profession : answers

39. SPECIAL ADULT EDUCATIONAL PROGRAMS AIMING AT SOCIAL ADVANCEMENT (education of adults) (2)  Programs in higher eduction Computer science2.101 Informatics330 CAD-CAM for the clothing and textile industries18 Electro mechanics202 Electronics369 Industrial electronics26 Industrial informatics and computer science58 Textile design28 Total3.132 Design profession : answers

40. WORKING POPULATION AND DESIGN BASE: n=1 708 fulltime or parttime working Flemish 92% 8% Design related job Job is not design related The Flemish working population consists of 2.700.000 persons, which means that approximately 200.000 of the fulltime or parttime working Flemish has a design related profession. Design profession : answers

41. WORKING POPULATION AND DESIGN: design domains Development of new/improvement of existing products54% Advertising and promotion33% Design of companies’ visual presentation31% Packaging design23% Interior design21% Distribution/sale of design products6% BASE: n=130, having a design related job Design profession : answers

42. WORKING POPULATION AND DESIGN: degree (electro-)mechanics12% Engineering (civil, industrial, other)10% Informatics9% Graphic design7% Electricity/electronics5% Cabinetmaker/furniture maker4% Baker/confectioner4% Photography2% Industrial designer2% Other degree university or equivalent6% Other degree higher education11% Other degree (no further specification)20% No answer5% Design profession : answers BASE: n=130, having a design related job

43. WORKING POPULATION AND DESIGN: extra training courses BASE: n=130, having a design related job 92% Attended a design related extra training course during past 12 months Did not attend a design related training course during past 12 months The majority of extra training courses dealt with new software applications, and was commissioned by/organised within the company. 80% 20% Design profession : answers

44. Structure of this report Design businesses Design professions Design as leisure activity Design and popular media questions approach answers

45. Design as leisure activity: questions  Which are the exisiting design related trainings, events and leisure time activities?  What is the degree of participation in these events, activities and trainings?

46.  CATI Consumer survey, inserted in multiclient omnibus, representative sample of n= 1 024 Flemish of 20 years and older: questionnaire on active and passive participation in design related leisure time activities.  Education Statistics Flemish Government (Yearbook of Flemish Education, 2006): number of participants in parttime arts education, department visual arts.  Collection of information (via phone and face-to-face interviews with initiatiors and organisers of design related leisure events and activities : exhibitions/musea, fairs, arts and crafts workshops... Design as leisure activity: approach

47. Design as leisure activity : answers  10% of the Flemish (20 years or older) have design or craft related leisure time activities (n=101 respondents on a total sample of n=1 024).  When extrapolated: almost 550 000 Flemish (female, middle-aged profile) has a design or craft related leisure time activity.  Within this group of hobbyists, the following subgroups can be distinguished:  45-55’ers: 65% of the total hobbyist group, 55 or older: 40%  the majority of design and crafts hobbyists are women: 63% versus 37% ACTIVE PARTICIPATION

48.  the following leisure time activities are considered as design or crafts related: on top drawing and painting, sewing, knitting, embroidery, crocheting, etc. (practiced by women, mostly 55+); flower arrangement/ikebana (mostly women); photography (mostly men). But there is a large remaining category: web design, handicraft (furniture, accessories), webdesign, ceramics, sculpting... 3% 4% 5% 6% 8% 18% 22% 0%5%10%15%20%25% sculpting Handicraft - accessories Pottery and ceramics Web design Handicraft - furniture handicraft photography Flower arrangement/ikebana Sewing, knitting, embroidery, crocheting... Drawing and painting Design as leisure activity : answers

49.  In 2005 40% of these design hobbyists attended at least one training  A wide range of organisers: parttime education in arts, private and partly subsidized initiatives, workshops organised by craftsmen...  What parttime education in arts is concerned:  a total number of 157 712 students, of which 55 511 (35,2%) in the visual arts department (schoolyear 2004-2005)  majority of these students are youngsters (65%), but this discipline is the most popular one amongst adults as well (49,7% of adults in parttime education in arts are in ‘visual arts’). Design as leisure activity : answers

50.  In 2005 15% of the Flemish (20 years or older) - so about 800 000 persons - have attended a design or crafts related event, activity or fair. PASSIVE PARTICIPATION: the consumer  65% attended an interior design fair  25% visited a museum or exhibition (arts included)  10% attended hobby fairs Design as leisure activity : answers

51. PASSIVE PARTICIPATION: a number of initiators/organisers DESIGN MUSEUM GHENT  collections focus on furniture and industrial design.  in 2005 this museum had approximately 2 000 visitors per week, which means 104 000 visitors per year. The number of visitors had an increase of 25%, compared to 2002. SILVER MUSEUM STERCKSHOF DEURNE  a varied silver collection, organises exhibitions and expertise days on precious metals.  received a total number of 38 765 visitors in 2003, which means a status quo compared to 2002. BROELMUSEUM – MUSEUM OF FINE ARTS, CERAMICS AND DESIGN KORTRIJK  exhibits the work of artists who lived and worked in the region  a unique, international ceramics collection  received a total of 18 500 visitors in 2004, a status quo compared to 2002 Design as leisure activity : answers

52. BIENNALE ON INTERIOR DESIGN “INTERIEUR” KORTRIJK  a 10 day interior design event, organised every 2 years  95 354 visitors in 2004, more than 250 exhibitors (a record number), which means an increase of 18% compared to 2002 “SFEER” GHENT  an annual, 10 day lifestyle’happening’/fair on interior design, garden and swimming pool  received 40 000 visitors in 2004, 47 000 visitors in 2005 (with 200 exhibitors). This is an increase of almost 20%. “COCOON/DESIGN BRUSSELS” BRUSSELS  a 10 day interior design fair  received 99 092 visitors in 2005 (with 275 exhibitors), which means a small increase of 2% compared to 2004. PASSIVE PARTICIPATION: a number of initiators/organisers Design as leisure activity : answers

53. These musea and events receive a total number of almost 400 000 visitors on a yearly basis. However, we have to notice that these visits are not exclusive. On top of the ranking we find the 2 interior design fairs “Cocoon (& Design Brussels)” and “Interieur”, (both 10 days), followed by the 2 initiatives organised in Ghent: the Design Museum and the interior design fair “Sfeer”. PASSIVE PARTICIPATION: a number of initiators/organisers Design as leisure activity : answers

54. Structure of this report Design businesses Design professions Design as leisure activity Design and popular media questions approach answers

55. Design and popular media: questions  How much attention do popular media pay to design?  What is the impact of this media attention?

56.  Flair  Standaard Magazine  De Morgen Magazine (Het vrije Leven)  De Tijd Magazine (Beste Dingen / Bestedingen)  for each magazine: 1 issue per season, 4 issues in 2000 and 4 in 2004.  analysis for each issue of all articles, by keeping a tally of following parameters:  subject : design or not?  length : what is the length of the article?  domain : which type of design is the article about?  tone of voice : what is the article’s purpose (inspiring, informing, instigating purchase, prize-draw with a design product …) 7 titles, representative for Flemish lifestyle magazines, were analysed: Analysis :  Feeling Wonen  Weekend Knack  Zone 09 WRITTEN PRESS Design and popular media: approach

57. In-depth interviews with people responsible for programming and content of 8 radio- and tv-channels: AUDIOVISUAL PRESS  Kanaal Z, newsjournalist  Jim TV, Station Manager  Vitaya, Administrative Director  Focus TV/WTV, Head editor  Studio Brussel, Coordinator ‘Word’  Klara, Assistant to the Netmanager  Eén, Content & creative manager  VTM, Manager Interactivity Analysis:  Direct design : attention for design in content (program items on design or a design program in general)  Indirect design : time and energy spent on design in general, without taking into account content (i.e. logos, house style, stagesetting of studios, etc...) Design and popular media: approach

58. Attention for design  2 out of 5 content pages in 7 leading Flemish magazines to a certain extent deal with design (36% in 2000 and 41% in 2004). WRITTEN PRESS 2000 2004  The attention either remained stable or has increased throughout the years, only Feeling Wonen paid 8% less attention to design in 2004 when compared to 2000. 13% 26% 23% 21% 28% 50% 91% 16% 22% 23% 26% 37% 82% 83% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% FlairZone 09De MorgenStandaardWeekend Knack De TijdFeeling Wonen Design and popular media: answers

59. Design domains  Most attention goes to product design, followed by interior design and media (articles about ‘design channels’ such as fairs & conferences, books, etc...) percentage spent on different design domains, in 2000 and 2004, year averages based on all 7 magazines. 49% 20% 12% 3% 7% 4% 1% 0% 3% 43,7% 19,8% 16,1% 5,2% 4,7% 4,0% 1,7% 2,3% 0,7% 0% 25% 50% 75% productInterior design mediaAdvertisingInfrastructure design Process innovation Packaging design Sale/ distribution visual/Graphic design 2000 2004 Design and popular media: answers

60.  On average articles on interior design are longer than articles on product design (use of pictures). This means that interior design and product design were in fact equally important in 2004. 48% 23% 8% 2% 7% 0% 3% 32,9% 27,4% 18,5% 1,3% 9,0% 5,8% 1,2% 1,3% 1,1% 0% 25% 50% 75% Design domains percentage spent in surface on different design domains, in 2000 and 2004, year averages based on all 7 magazines. Design and popular media: answers productInterior design mediaAdvertisingInfrastructure design Process innovation Packaging design Sale/ distribution visual/Graphic design 2000 2004

61. Information purposes  Magazines inform their readers, and this is also the case for articles on design (65%). Also remarkable is that 1 out of 4 articles on design lure the reader into the purchase of a design product, which underlines popularisation trend.  ‘Inspiring’ and ‘stimulating creativity’ with design as topic is clearly on the increase compared to 4 years ago (5% in 2000 and 11% in 2004)  It looks like magazines are willing to contribute to the overall ‘likeability or sensibility towards design’ in Flanders (or the other way around: readers expect information and inspiration on design in their magazines) percentage tone of voice, in 2000 and 2004, year averages based on all 7 magazines 66,9% 24,0% 5,5% 3,7% 64,4% 19,8% 10,9% 5,0% 0,0% 10,0% 20,0% 30,0% 40,0% 50,0% 60,0% 70,0% 80,0% InformPurchaseInspireWin Design and popular media: answers 2000 2004

62. Impact of design: relationship between attention and circulation?  There is no clear evidence of a direct link between the attention spent on design and obtaining a higher circulation (i.e. more copies/readers).  Examples:  Standaard Magazine : attention increase of 5% in 4 years time, an increase of circulation in the same period of 2,3%  Feeling Wonen: less attention to design (-13,3% ), circulation decreases (- 8%) BUT:  De Morgen Magazine: same attention level as 4 years ago, circulation increases (+2,3%)  Weekend Knack: increase of attention of 9%, but decrease of circulation (1,4%).  These findings have to be understood within the decline of reading behaviour in general in Flanders. So design cannot single-handedly switch this trend. Design and popular media: answers

63. ATTENTION FOR DESIGN: direct design  Design is, according to the content managers, more present than 5 years ago in their content and programs. When asked whether ‘in 2000 there were more or less items in programs or programs on design’, all of them answered ‘less’.  On the one hand there is the emergence of new design programs and on the other hand there are more programs in which design is ‘used’ as an interesting item.  Design has become ‘generic’, it can be used anywhere (from the studio design where the news is recorded, to the item in a human intrest program or an interview with a designer in a radio talkshow). Design is, certainly in its broadest definition, multi-usable and omnipresent. AUDIOVISUAL PRESS Design and popular media: answers

64.  Illustration of this omnipresence: in one average week, taking all Flemish tv channels into account, 43 programs deal with design or indirectly report on design (according to channel and content managers) Why this attention for design?  Design is ENTERTAINMENT: according to content managers design has an indisputable entertaining value. It is a popular and light theme which virtually everybody can relate to. ‘Net omdat economie zo’n droge materie is zijn wij altijd vragende partij om in ons nieuws iets over design als uitsmijter te brengen. Een luchtig item over design wordt altijd gesmaakt.’ (Kanaal Z, about the use of design as a popular topic to ‘lighten’ the dull and sometimes heavy economic information on which the tv channel Kanaal Z focusses) Design and popular media: answers

65.  Design LIVES in the viewers’ lives: design in programs emerges positive reactions. Viewers or readers often contact the editorial offices of the programs that brought them a design item in order to learn more about it ‘Mensen hebben meer en meer een oog voor wat mooi is, vandaar dat design zo sterk leeft bij de kijkers’ (tv channel één about the fact that the attention and feeling for the ‘beautiful’ increases, hence the popularity of design) ‘50% van onze kijkers kijkt naar ons designprogramma TENDENS. Dat is heel veel en duidt op een groeiende interesse’ (regional tv channel Focus/WTV about the fact that 50% of their viewers watch the design program) Design and popular media: answers

66.  Design is POPULARISED: design used to be regarded as something for the ‘lucky few’, whereas, due to its omnipresence, it has become popularised and accessible nowadays. People are increasingly designing their surroundings, according to content managers. Design has become ‘incontournable’, and mass media cannot allow themselves to become un- or other-wordly because that would cost viewers and/or readers. ‘Kijk maar eens naar steden als Gent, Hasselt en Brussel: op 5 jaar tijd is er echt het één en ander veranderd. Er is meer design aanwezig in het straatbeeld: meer winkels, meer cafés, meer restaurants, meer zaken gebruiken zorgvuldig vormgegeven ruimtes’ (music channel JimTV on the fact that design has gained field in Flemish cities: it has become a common ‘street image’) ‘Geen aandacht aan design schenken is gewoon de bal misslaan’ (regional tv channel Focus/WTV on the implications of not paying attention to design: it is quite simply ignoring what the viewer wants) Design and popular media: answers

67.  Design as a SOURCE OF INSPIRATION for a better living standard: people seek inspiration in mass media. They need advice to improve their life quality. Design perfectly fits into this growing trend: it is a way to reach a higher standard. Design also thrives in a society where individualisation is a massive trend: people try to distinguish themselves by means of a unique look and design ‘Mensen willen meer en meer dromen en dat is precies wat design hen belooft.’ (tv channel VTM on the promise of design: it makes dreams come true) ‘Door design aan onze kijkers te tonen stimuleren en inspireren wij ze om aan design te doen, wat dan op zijn beurt leidt tot mensen die er meer mee bezigzijn. Ultiem leidt dat tot een trouw kijkerspubliek en dàt maakt het net zo interessant’ (music channel JimTV informs about design and inspires the viewer to implement design, which results in a more interested and hence more loyal audience) Design and popular media: answers

68. ATTENTION FOR DESIGN: indirect design  In the search for a clear market position towards the target group, content managers actively use and implement design as a main instigator for the brand’s or channel’s image (logos, websites, look&feel of programs, studio and stage design, trailers in between programs...). Every year more budget is spent on this, which suggests the insight that design and media production are inextricably linked. Design and popular media: answers

69. Why this attention for indirect design?  Design as a SOURCE of UNITY Design is the best way for a broadcasting company to create a unity in external and internal communication. Creative directors of Flemish tv & radio channels all actively invest in design in order to communicate the same feelings, the same look & feel and the same values towards all stakeholders, as efficient and consistent as possible. ‘Onze design moet verfrissend en consequent zijn: het moet ervoor zorgen dat in een veranderend medialandschap we steeds hetzelfde kunnen blijven betekenen.’ (tv channel VTM on the use of a consistent and fresh design as a way to stay clear in an ever changing media landscape) ‘Niemand bij ons mag een brief uitsturen zonder dat dat op ons officieel vormgegeven briefpapier gebeurd. Dat is een voorbeeld van hoe je een consequent imago kan uitstralen’ (music channel JimTV on the importance of of image consistency through design: even letters are clearly branded) ‘Je design is de uiting van je waarden. Het is de samenvatting van waar je als merk voor staat’ (tv channel VRT on the fact that design is the summary of everything you stand for as a tv channel) Design and popular media: answers

70.  Design as a way to DISTINGUISH from competitors In a digital world where new channels are born everyday and where the same or similar programs can be viewed on different channels, design becomes the ultimate way to distinguish from competitors. ‘Design is een herkenningspunt naar de consument toe’ (tv channel VTM on the fact that design becomes the recognition point for the consumer)  Design as a driver of CHANGE A regular change of logo and look&feel will result into a dynamic and active image. Design apparently is the ‘proof’ of evolution. ‘Mensen moeten voelen, zien en ondervinden dat er een dynamiek is, dat hun zender aan het evolueren is. En dat maakt een vernieuwde vormgeving mogelijk’ (tv channel Kanaal Z on the fact that viewers experience a change in design as an evolution process) ‘Regelmatig vormgeving aanwenden voor je huisstijl is een bewijs van je modernisering, het zorgt ervoor dat je niet als ouderwets beschouwd wordt’ (radio channel Klara on the fact a status quo in housestyle can result in an old-fashioned image) Design and popular media: answers

71.  Design as a COMMUNICATOR in PROGRAMS Design is also actively used in both fictional and non-fictional productions as a means of providing the audience with implicit information. In fictional programs for instance, design professionals will actively work on the look of actors, their surroundings and their role, in order to provide viewers with unspoken cues about the character, giving him or her extra depth. ‘Design is een parameter die mede verantwoordelijk is van het welslagen van een bepaald programma. Uiteraard primeren het concept, de presentatie en andere inhoudelijke elementen, maar vormgeving kan voor die extra sfeer en afwerking zorgen dat het verschil maakt’ (tv channel één on the fact that concept, presentation and content are certainly important, but next to these aspects design can also make the difference for the viewer) Design and popular media: answers