The best designers of the red dot design award 2007: Wolfgang Olbrisch

The best products in a category, which have proven their highly outstanding and pioneering achievements, receive the distinction “red dot: best of the best”. This year, the jury awarded this honorary distinction for highest design quality amongst others to the handbag “Arcade”, designed by Wolfgang Olbrisch. We talked to the designer in an interview.

What inspired you to create this special product and what was your intention behind it?

I was motivated by three factors when designing the ARCADE purse: First of all, I was intrigued by the contrast between a genuine aristocratic material, namely horsehair featuring a classical flower pattern, and the clear, modern visual language that I have pursued for many years now. Secondly, I came up with the idea that a purse could adapt to the body form of a woman, and that that imprint could then have an independent, almost sculpture-like effect. Thirdly, I envisioned a purse form that presented arches in all three dimensions. The main challenge then consisted of associating these three factors with one another, to integrate them, and to thereby create a purse that would be beautiful as well as practical. In my design, I explored the essence of an arch from every possible angle.

What does being awarded the red dot: best of the best mean to you?

Although I’ve always believed in the design, materials, construction, and workmanship of our purses, I wasn’t really counting on getting an award. Therefore I’m all the happier to have received the prestigious best of the best award for the design of ARCADE. The fact that we also received a design award for our KIMONO purse confirms our philosophy: To unite solid, clear design, best possible quality, and absolute user-friendliness when designing our purses. It was more or less by coincidence that we applied for the reddot. A business partner insisted that our purse design was considerably above the norm, that it was unique, and that it would definitely be worth a try to participate in this international competition. After some hesitation, we then decided to enter the race with ARCADE and KIMONO. I also see these distinctions as a recognition of the performance of our employees and am certain that it will trigger a new wave of creativity. It very gratifying to see that this highly renowned jury singled out our product. Up to now, our purses were more or less an insider tip, apart from the big labels. I’m convinced that with the reddot, we can now attract a bigger audience. Thanks.

What particular challenges do you think designers are facing in this day and age?

The most important challenge for designers today is, in my opinion, to see themselves less as the main originating force, the navel of the world. Designers’ skills and ideas are a part of the whole in product development, no more and no less. An idea only contributes to one portion of the overall task. After that, the real work with the product really starts. This includes considering the different materials to be combined and processed. The designers must meet the requirements, expectations, and wishes of clients. They must also comply with ecological and ergonomic quality standards. Throughout product development, all participants contribute to the success of the product and transform and influence the ideas of the designers. This means nothing other than that a product is designed and elaborated on all levels, from idea to final product. Teamwork is the key. Which means that participants can’t necessarily do what they want. All contributions have to correspond to the main idea. The communication between all areas has to be managed clearly and responsibly. That’s a very important element. I’m firmly convinced that criteria such as ergonomics, longevity, eco-friendliness, and user-friendliness will play an increasing role in product design in the coming years.

In conclusion I also want to express a perhaps old-fashioned view of mine: When looking at a product, one should be able to sense that it was designed and produced with curiosity and dedication. I don’t like technical coldness.

As a designer, what would you still like to achieve in the future?

My dream is that my personal design and visual language will continue to live and be developed beyond my time. One of my dreams is that one of my purses may find a place in a museum as an expression of contemporary design. That would be my contribution to documenting the visual language of our time. Design and visual language is an expression of the Zeitgeist. With good design, I am giving future generations an idea of what our time is about. Winning the red dot: best of the best is naturally bringing me much closer to those dreams. To get there, I would like to continue my path of conceiving purses from inspirations that I get in this world, in other words, from my surroundings and my everyday life. I don’t start designing a purse just for the sake of it. Rather, I take in forms – a gesture, a hand movement, the form of a ship bow, the architecture of a Japanese Shinto shrine, or the silhouette of a woman against light – and ask myself whether and how a purse could be designed to capture such sensitivities. That is, in fact, how the idea of the awarded Kimono purse originated – while watching a man open his shirt collar. What intrigued me then was the challenge of transferring this opening movement into the opening of a purse. Sometimes I succeed at it, sometimes not. Failing is part of the game and often gives impulses for a new, completely different form.

What do you think is the economic significance of design?

The economic significance of product design is continually increasing, in my opinion. Quality standards, processing possibilities, and the general level of technology make products increasingly similar and difficult to distinguish. We therefore need an additional aspect that goes beyond the mere use factor of a product. And that is, in short, the task of design. Commonplace purses, i.e. the standard rectangular model with shoulder strap, of mediocre quality materials, and some brand label, go under in the mass of competitors. The economic success of our company lies in our unusual design and in the process of letting that mature into a high-quality product. At least for a company that produces for the European market, aesthetics is a key factor for economic success. There are already more than enough cheap and run-of-the-mill products out there. Designed products really only have a chance of surviving if their everyday usability and their quality is given equal importance. That is, at least, our philosophy at Olbrish & Goebel.

Sensually appealing contour lines

A handbag is much more than just an accessory. It is an expression of individuality. Through its unusual language of form, the Arcade handbag appeals to the senses: with its almost avant-garde shape, the handbag seems to adapt to the figure of its female owner. Its design has been reduced entirely to the contour of its arch, and this handbag thus acquires a highly intriguing character. It has been designed as a representative handbag both for going out and for official occasions – the functionally well-thought out separation into one volume pocket and two envelope pockets facilitates easy access to the content. Further exciting design features are the unusual material combination in leather and horsehair whose woven structure follows a classic floral pattern. The rear side of this handbag is made of minerally tanned  imbued nappa cowhide and the front sideis made in two layers: the shaping leather fibres, a mixture of natural rubber and leather fibres, form the basis, which is covered by the horsehair fabric. The combination of these materials further emphasises the novel appearance of this handbag, and the different materials make the handbag pleasing to the touch. It lends Arcade the character of a sculpture – with the usefulness of a handbag.