If 2010 belonged to anyone it was surely Neville Brody. The hugely successful Anti Design Festival staged in London in September owes its inspiration to him; he was appointed head of the Royal College of Art’s newly renamed School of Visual Communication (a job he took up this month); he joined D&AD’s executive committee; and he was shortlisted for the prestigious Prince Philip Designers Prize.
Despite all this, Brody has been a bit quiet within the UK design community since he made his impact in the late 1980s through magazines such as Arena and The Face. This is despite major projects by his consultancy Research Studios for The Times London, LG and D&AD, for which it created the annual in 2008.
But the ADF changed all this, not just in promoting Brody and the illustrious team he put together for the event, but in developing a new manifesto for communication design. Brody calls for a return to risktaking and experimentation, blending print, interaction and even 3D design in the process as a reaction to the ’safe’, slick branding.
This bodes well for design, particularly given the influence he is set to wield in the immediate future through his position at the RCA.