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+$Design's gender problem, and what you can do about it

根据“创意平等”,只有9.8%的有创造力的领导人是女性。但与其他行业不同的是,设计在吸引女性方面没有问题。大约70%的设计毕业生是女性,尽管只有大约40%的工作设计师是女性。这表明该行业存在一个问题-在留住、提拔和培养女性设计师方面。

但这到底是怎么回事?这些统计数字对业内人士有何影响?它们有什么影响?设计思维以及随后创造的作品?也许最重要的是,我们能做些什么呢?我们与许多创意人员进行了交谈,以了解这一问题的真相,并找出我们都可以采取哪些实际措施来挑战现状。

“婴儿问题”

Kerning the Gap: gender discussion

参加“缝隙”活动的妇女

+$When trying to understand gender inequality in the workplace, it’s very easy to blame one thing. “We need to move on from ‘women are leaving to have babies’,” says Nat Maher, CEO ofPollitt&Partners集体的创始人削缝..“首先,70%的毕业生是女性,而11%的创意总监是女性,所以没有足够的婴儿来解释这一点。”

纳特补充说,当我们如此关注“婴儿问题”时,我们忘记了可能发生的其他事情。设计行业本身似乎给女性带来了问题-当然,每个人的经历都是不同的。

+$“Unlike many sectors, creative careers are subject to how well you network or achieve within the – very biased – system,” explains Ali Hanan, creative director and founder of diversity championing organisation创意平等..“这取决于你的账户是什么,如果你有机会推销,如果你的作品被授予奖项,如果你得到了正确的培训,你是否得到了与你的男性同事相同的反馈,如果你的投资组合得到了平等发展的机会-你不只是被戴上‘粉红’品牌-等等。”

这是一种文化,建立在这样的假设之上,即你的生活中没有任何其他的事情发生。

马瑞·沃尔勒斯伯格

+$The working hours can also be problematic. “It’s common for people to stay in the office until eight or nine o’clock, or even later, often at short notice,” says Marei Wollersberger, co-founder and futures director of design agency正常..“如果你有其他的责任,这是很难维持的。这是一种文化创造的假设,你没有任何其他事情发生在你的生活。

+$”What most of the statistics don’t tell us, adds Maher, is what’s going on with those who aren’t in full-time employment. What about the part-timers or freelancers? And what about the gender pay gap in smaller businesses that aren’t legally obliged to publish their numbers? “We’re a micro industry. Ninety per cent of our businesses have 10 or fewer people in them,” she says. “That means we don’t have HR departments, most of us are founder owned and led by men.”

当然,她继续说,仅仅因为一个机构是由男性管理的,并不意味着他们不支持多样性。“但我们在默认情况下雇用和招聘人员,因此,由男性领导的企业被吸引来担任高级职位,他们变得更高级,有时他们自己接管或开办企业,这种情况会自我延续下去。”

创意网络

Girls get Equal plan international campaign

总统先生的竞选,劳拉·乔丹·班巴赫是CCO

好消息是有很多人在争取变革。受够了两位受邀在活动中发言的女性,首席创意官主席先生、劳拉·乔丹·班巴赫(Laura Jordan Bambach)和品牌体验顾问Ale Lariu创建了创意网络。她说2007年。她专注于创意产业中女性的参与、教育和提升,因为正如乔丹·班巴赫所说,“你不可能成为你看不到的东西”。它举办各种活动,包括辅导、辅导课程和投资组合评审,目前活跃在世界各地的40多个城市。

+$“We’ve focused on what can we do with women to make their work better and make them more successful in the workplace,” explains Jordan Bambach. “If you’re unsure of something and you feel uncomfortable asking about it at work, you can come to one of our events and find out all about it, and then go back to the office and absolutely smash it.

+$”It’s working, too. “I know so many women who got their first job through SheSays or have grown through the company ranks because of attending a SheSays event and how confident it’s made them,” says Jordan Bambach.

+$Issues of confidence crop up again and again in this debate. “Every conversation that I have around gender balance is about women’s confidence, or lack thereof, and the belief in what they’re capable of,” says Maher. Like SheSays, Maher’s collective Kerning the Gap focuses on practical ways to get more women in leadership in the design industry, including by building confidence. “That’s not to say that every woman should want to or have to be a leader, but on the journey of solving the challenges of why we don’t have more, we’ll make the lives of every woman better in the design industry,” she explains.

+$Kerning the Gap runs events and mentoring across the UK, and one of its core propositions is to involve men in the conversation. “Men are invited to everything, and we have men on our mentoring program,” explains Maher, adding that although men cannot be mentees, they often learn a lot about the difficulties women face through reverse mentoring.Why haven’t these conversations happened previously? “There’s been no language around it, so there’s been no way to talk about it without it feeling like it was an attack,” says Maher. “And now there are so many other opportunities for men to understand the challenges that women experience, they’re developing new empathy and sympathy for it. Our current debate is more ‘what can I do to help?’ as opposed to ‘I don’t see why there’s a problem’.”

挑战性别规范

Flower Up collage work

弗劳普的工作挑战典型的性别规范

为了回应他在大学时所目睹的恶毒的男子汉气概及其对他的心理健康的影响,亚历克斯·埃文斯创立了时尚和设计品牌。花开+$. “The term ‘flower it up’, asks an overly aggressive masculine male to chill out and get in touch with his sensitive or so-called feminine side,” he explains. Flower Up isn’t seeking social change, but it applies the concept of ‘flowering it up’ to challenge gender stereotypes. Through its work withTerra Firma记录它一直能够取笑和“突出明显的男性美学”的场景。“花上”的设计意味着这个标签现在“引起了更多观众的共鸣”-包括更多的女性。

+$Of course, Evans isn’t alone in addressing gender imbalances and disrupting stereotypes through his work. “I don’t think I’ve received a female portfolio this past 12 months that doesn’t touch on gender equality,” says Katie Cadwallader, designer at柔软工作室萨拉安德烈森琥珀维多利亚只是描绘女性气质和女性风貌的许多插画家中的两位,而插画家,如天菊段提供了不同的观点来看待成为男性意味着什么。

改变演播室文化

stamps and suffragette poster by Supple Studio

为“皇家邮政”工作,由Supple Studio创建

+$If we are to achieve gender parity in the design industry, then we need to make changes in our structures, and for many, that means studios and their cultures. While working long hours is often seen as part and parcel of agency life, Wollersberger believes that such expectations often affect women disproportionately. “In our society, women tend to be given the added responsibilities – looking after ailing parents, or children, and running the life admin stuff – so this culture tends to impact them more,” she explains. “Also, women are less considered for roles because of the belief that these jobs require longer working hours, and there’s an assumption that they’re not up to it.”

+$To combat this, everyone at London agency Normally works four days instead of five. “There is no emailing, no excuses and no exceptions in terms of saying, ‘this week we’ll work five days’,” explains Wollersberger. “We started the four-day week because we saw a lot of waste in what we did – producing work that wasn’t necessary, being there when our presence wasn’t required, and we thought that presence took away our reflection time and made us unproductive.”

+$Does it work? According to Wollersberger, the studio has seen huge positives in terms of the quality of its work, and the team have all seen benefits in their home lives. “We also have an extremely low churn rate – very few people leave. This is often a gender-related thing, because companies usually find it hard to recruit and maintain women in their teams,” she says.

性别薪酬差距

+$Normally has also taken steps to eliminate its gender pay gap. “Before, we had a traditional process based on past salaries. But we realised there was a big difference in terms of what people were asking for – the difference mainly being that women and introverts were asking for a lot less,” she recalls. Recognising that the management team was biased, Normally developed an algorithm to calculate salaries, which takes into account experience and nothing else. “It’s been brilliant,” enthuses Wollersberger. “It’s totally transparent and has blown away the sense of people being treated unfairly.”

+$According to Wollersberger, making changes such as the four-day week and the salary calculator algorithm are “good first steps” to addressing the bias towards male culture in design. “This is a systematic bias rather than one reflecting people’s own beliefs,” she points out, “so we need to be as creative with our response as we are in our work projects. Be resourceful, think about how we can design the way we work.”

赡养父母

Ali Hanan at a Creative Equals event

阿里·哈南参加创意活动

父母在工作场所被对待的方式可能是这种偏见的一部分,马赫认为,如果我们把父母教育看作是一项“团队运动”,而不是女性的工作,我们都会从中受益。“一旦你问,‘我们如何在我们的企业中支持不仅仅是女性,而且我们如何支持男性和父母?’,这就变成了工作之外的责任和压力。”

+$You also need to be careful, says Maher, that by looking after parents, you’re not expecting more of those who don’t have children. “Just because those without children can work until eight o’clock in the evening, doesn’t mean that it’s acceptable for them to do that,” she warns.

+$For Jordan Bambach, it’s about levelling the playing field. “There needs to be equality in terms of allowing people backup,” she says. “Whether it’s paternity leave, or having equal parental leave, and equal pay – these things are so important because they get rid of this idea that childcare is a woman’s problem.”

+$When Jordan Bambach came back to work after having her son, she found that the industry had changed: after just nine months, the ad format terminology was different. “People were talking about these things, and I had no idea what they were, and I was too embarrassed to ask ’cos I was the boss and I should know,” she recalls. “And that experience was uncomfortable.”

Bambach不得不在互联网上寻找帮助,但是像她和CreativeEeques这样的倡议现在正在运行一些项目,让女性跟上行业的发展趋势。“创意等于在曼彻斯特和伦敦开设为期三天的课程,正如哈南所解释的那样,这些课程的目标是为因各种原因-疾病、为人父母、照顾孩子等等-而离开这个行业的女性搭起工作的桥梁,并帮助她们获得当今市场所需的工具和技能。”该方案已与提供灵活工作的机构合作,如英国广播公司、AMVBBDO、Toaster和LEGO,以运行现场简报,以及课程结束后的付费安排。

力求包容

A SheSays event in Singapore

新加坡的一项活动

+$Like notions of gender itself, inequality in the industry is complex and often multi-layered. To help studios navigate these layers, Creative Equals launched the Creative, Digital and Media Equality Standards – recognised kitemarks that give companies a diversity and inclusion review, rating and action plan. “The standards look at all aspects of diversity – gender, race, LGBTQI, education, faith, age, disability, neurodiversity – and examine company policies and practices, top to bottom, in and out,” explains Hanan.“

+$The reaction has been overwhelmingly positive,” she adds. “However, the Equality Standard is hard to gain – and most companies fail the first time. Becoming an accredited company takes courage, time and commitment. So the Gold standard shows you deserve it.”

一半不是目标,性别不平等不是唯一重要的事情。

罗什·戈文达拉伊

作为Rosh Govindaraj的创始人和首席设计师伊萨拉+$bags, points out, inclusivity is beneficial not just for the people in the industry, but for the work created too. “Representation is important, and we need a balance of gender, age, ethnicity, and other factors – not just for ‘fairness’ but to ensure that we design solutions that will meet the needs of all kinds of people,” she says.

+$“Fifty-fifty isn’t the goal and gender inequality isn’t the only important thing,” she continues. “I think the goal should be to design with inclusivity in mind – try to think from the mindset of all those different people who might be interested in using your products and come up with solutions that will improve their experience.” Cadwallader agrees. “The more eyes and the more points of view the better, so the more diverse and differing the characters in the studio, the stronger our output will be.”

+$And what about those who don’t fit into stereotypical categories of gender? “If I think about what things were like when I was in my 20s, the conversation has moved on phenomenally, and that’s great,” says Jordan Bambach. In terms of what that means for design, Jordan Bambach believes it’s about people feeling safe and supported. “People should be allowed to be their authentic selves at work,” she says. “That’s super-important, whatever gender you are, whatever sexuality you are, whatever religion you are, you need to feel safe to be yourself at work.”

更具包容性的董事会在财务上表现得更好,更具包容性的创意团队有更好的想法,创造出更包容的设计

劳拉乔丹班巴赫

+$Being an inclusive workplace is also good for business. “There’s a huge amount of research showing that more inclusive boards perform better financially, more inclusive creative teams have better ideas, and create more inclusive design,” explains Jordan Bambach. “It’s an inequality issue, but it’s also business issue. I think the more that’s taken on, the quicker things will change.”

Wollersberger认为,我们需要改变工作场所的文化,以跟上时代的步伐。“这不一定是关于女性和男性的,但意识到倾听、同理心和合作等技能在设计行业中的重要性越来越大,因为需要跨学科开展工作。”老式的威权行为不再能帮助我们解决问题。“

+$How likely are we to see real change in the industry? “We’re going in the right direction,” sums up Jordan Bambach, “but it’s not going to happen fast enough unless everyone takes responsibility… It’s not a women’s problem that women should be solving, it’s a cultural problem that culture should be solving.”

这篇文章最初发表在第290期计算机艺术,世界领先的设计杂志。购买第290期要么订阅这里

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