It’s often said that what’s inside matters more than one’s looks, but it’s hard to argue that a product’s looks and its physical user experience are what makes it instantly recognizable. When you think of something like a Walkman, an iPod music player, a desktop computer, a car or a TV, the first thing that comes to mind is the way that it looks along with its user interface. This is the domain of industrial design, where circuit boards, mechanisms, displays and buttons are put into a shell that ultimately defines what users see and experience.
Thus industrial design is perhaps the most important aspect of product development as far as the user is concerned, right along with the feature list. It’s also no secret that marketing departments love to lean into the styling and ergonomics of a product. In light of this it is very disconcerting that the past years industrial design for consumer electronics in particular seems to have wilted and is now practically on the verge of death.
Devices like cellphones and TVs are now mostly flat plastic-and-glass rectangles with no distinguishing features. Laptops and PCs are identified either by being flat, small, having RGB lighting, or a combination of these. At the same time buttons and other physical user interface elements are vanishing along with prominent styling, leaving us in a world of basic geometric shapes and flat, evenly colored surfaces. Exactly how did we get to this point, and what does this mean for our own hardware projects?
Bold And Colorful Shapes
Industrial design is less of a science and more of an art, limited only by the available materials, the constraints of the product’s internals and the goal of creating a positive user experience. Although design has always played a role with many products over the millennia, these were generally quite limited due to material and tooling constraints. As both plastics and electronics began their stratospheric rise during the 20th century, suddenly it felt like many of these constraints had been removed.
No longer was one limited to basic materials like stone, metal, wood and paint, while internals got ever smaller and more flexible in terms of placement. Enclosures now could take on any shape, while buttons, knobs and dials could be shaped and placed to one’s heart’s content. This change is clearly visible in consumer devices, with the sixties and subsequent decades seeing a veritable explosion in stylish transistorized radios, home computers and portable entertainment devices, with industrial designers getting the hang of all these new materials and options.
The peak here was arguably achieved during the 1990s and early 2000s, as electronic miniaturization and manufacturing chops led to device manufacturers basically just showing off. Personal Hi-Fi systems and portable devices along with computer systems and laptops grew curved, translucent and transparent plastic along with a dazzling array of colors.
These days we refer to this era as the ‘Y2K Aesthetic‘, which was followed around the mid-2000s to early 2010s by the sweetly named ‘Frutiger Aero‘ era. During this time both hardware and software underwent a transition from mostly utilitarian looks into something that can be defined as tasteful to over the top, depending on your perspective, but above all it embraced the technologies and materials in its industrial design. Futurism and literal transparency were the rule, as a comfortable, colorful and stylish companion in daily life.
From Brick To Slab
Ask someone to visualize a Nokia 3310 and even if they’re born after 2000, there’s a good chance that they will be able to tell you what it is, what it does and what it looks like. Then ask that same person to describe any modern cellphone, and while the feature list should be quite easy, asking them to draw what differentiates, say, an iPhone 16 from a Samsung Galaxy S25 is effectively impossible unless they have memorized the layout of the cameras on the back and perhaps the side button placement.
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