The systemic nature of cultural production implies that designed objects are made desirable (or acceptable) by tastemakers who endow objects with forms of social distinction. Social distinction highlights or diffuses status and reveals self-perceptions of consumers’ identities. In this way, design becomes a form of tastemaking, invested in the construction of identity and is therefore a form of cultural production rooted in consumption. The role of the designer in facilitating conspicuous consumption is therefore critical in the context of social distinction, cohesion and identity.

The role of the design educator is to mediate learning and equip students to effectively contribute to their specific field once they graduate. With an ever-increasing demand for the ethical consideration of the sustainability of products and the impact of the manufacture thereof, so too the role of the educator should compensate and prepare learners accordingly. This paper aims to investigate the social and environmental responsibilities of industrial design professionals by referring to the works of key authors as well as current industry practices.

Contemporary design practice (and theory) is growing up. There is evidence to support the emergence of a new breed of designer who is able to reflect on her or his role in society, and to be critical of what they make and what the resultant consequences of that may be.

Design is often used as a vehicle to criticise and comment on issues, highlight problems and shortcomings in society, and present views and perspectives. This suggests that design is at a distance and impartial, but the truth is otherwise. Design is ideological and an expression of the values mediated by the designer and commissioned by others. This is the status quo: affirmative design. When design steps away from this position and critiques itself, critical design is the result.

This Article provides an initial overview of the professional graphic designers’ negative environmental impact and why their method of design for planned obsolescence must change. It argues thereafter that the American university graphic design curriculum should evolve to include an initial discussion of sustainability through a required studio design course on the topic.

This paper argues that the story of hemp is one of mistaken identity and focuses on the potential of hemp (Cannabis sativa L.) in a social and economic context and how it can help to develop with modern technology into ‘new’ materials on a national level with reference to examples from abroad.

Recent work is re-conceptualizing global poverty as an attractive growth opportunity for firms that can simultaneously alleviate the problem of poverty. The so-called ‘Base of the economic Pyramid (BoP)’, exists of 4 billion people that live on an income of less than $3 a day. Tapping into these overlooked markets will require companies and designers to reconfigure their business and product innovation models.

In order to achieve sustainability within the design industry, designers and educators working within changing value systems need to develop practical and contextualised solutions.

This paper examines ecological principles based on growing environmental awareness and the need to imbue responsibility towards our environment and relate appropriate technology.