Over the last few decades, design has really been liberated from the cultural discrimination between developed and developing countries on a global level. Today, no matter where you go, the United States, Europe, Asia, Latin America, the Middle East, Russia—customers want the best possible product, and they want world-class design. Tokyo, Seoul and Singapore are now as sophisticated as Milan, New York or London. Hong Kong, Shanghai and Kuala Lumpur lead in urban architecture. The most beautiful contemporary bridges are in Tokyo, Istanbul and Denmark. At one fell swoop, India has taken the lead in software development. As a consequence of all of this, designers need to be more knowledgeable about the world’s individual cultures than ever before.

Design was rather boring back in the sixties, and the majority of designers were often required to perform nothing more than to simply clean up obvious aesthetic oversights—simply beautifying things ugly. Entrepreneurs saw design more as a cultural mission than a vital element of any business strategy. Then in the early seventies, we suffered the first oil shock and suddenly designers were required to be much more business-oriented and efficient in terms of raw materials and resources, particularly with the use of plastics. We had to be more environmentally conscious while attempting to lower manufacturing costs, and at the same time meet the increased value demands of the consumer. This eventually led to effective mass production and the first real design boom of affordable products in the late eighties—a period when marketing and corporate design managers began trying to make everything accountable.

The nineties were a gloomy period for design—like a roller-coaster ride. Everything was about money, greed and hype. Moreover, it was the nineties that were to blame for creating a generation of young designers who grew up with the idea of delivering mere mediocre work, avoiding the basic values of human society such as modesty, hard work or ethics. These same young designers are now learning the hard way about what it takes to succeed in the real world of providing effective solutions.

Designers often come to us with strict backgrounds in areas such as graphic design, engineering and software development—designers who would normally reside until eternity in their specialized field. At Carelli Design, we pull them out of their specialized solitary space and challenge the broadening of their vocational spectrum. This has proven effective in our appeal as a creative organization, because this allows our designers to find and develop their own identities within what are often very specific brand challenges.

Today, Carelli Design represents an unparalleled mix of creative talent and real-world know-how, fresh in its thinking, yet at all times keeping a close eye on the business feasibility of it all.

The innovation process is not only about envisioning the future—it’s also about making it happen.

We are always honored by the public’s curiosity in our work, ideas and philosophy, and welcome those interested to take a browse around our Site to learn more about our rather remarkable journey. More about us