Whether Heather Locklear or Kim Cattrall, Aqua Net has played a leading role in leading ladies’ hair styles for decades. The antidote to a “bad hair day,” Aqua Net was the go-to brand throughout the 60s, 70s, and 80s, helping women get their hair higher and higher.
After its introduction, Aqua Net grew to be a household name. It was first found on the dressing tables of fine salons and made the leap into retail in the late 1950’s. The brand has long held cult status and its image has been burnished by a bevy of big hair beauties from Donna Mills to Jon Bon Jovi (men count too, right?); represented on screen in such hits as “When Harry Met Sally“ and “MadMen”; and it continues to flourish on YouTube. Around 2002, with the Broadway revival of Hairspray, Aqua Net enjoyed a revival of its own as the brand name once again became top of mind.
I love newspapers. I read an (unnamed) New York City tabloid for 45 minutes every morning. When I hold a newspaper, I grasp an achievable and enjoyable goal, a process I want to return to every day.
When I see a news site designed like a newspaper, the feeling is much different. I consume a lot of my online news through aggregators, often ending up at a predictable handful of established “old media” sources. Yet I have no desire to click around the twenty sections and sub-blogs of those dailies just to see what the paper is offering today. The navigation lacks joy, lacks flow, those UI elements that make you want to explore further. It isn’t nearly all it could be. It is a dangerous time for establishment news organizations: a time of deep Lock In.
Lock In is a peculiar problem – it sneaks up on industries, it takes them over, it renders them structurally obsolete.
Let’s not pretend for a second that spec contests are good for designers.
Spec contests have worked out pretty well for transatlantic flight and mapping the human genome, but are more or less a poison for emerging designers. Those businesses who source their design work to internet-based spec contests are promoting a cynical race to the bottom and need to cut it out.
But just as the Bubonic Plague produced some neat triptychs and World War I some readable classic novels, there was once a spec contest that produced an icon of great design, and created the curious case of Gary Anderson. But the takeaway isn’t as simple as it may seem.
Last evening, Chevrolet unveiled it’s highly-anticipated new Corvette, and with it a refresh of the iconic Corvette logo.
The 2014 logo, a re-imaging that thematically matches the redesign of the car, is bolder, busier, and more aggressive. There’s exaggerated form and shadowing, a nod to the modern demands of scalability and device readability; it will be as recognizable at 80 miles per hour as it will be at 114 x 114 pixels on your iPhone screen.