Designing for Gen Y: Conclusions without contusions

Okay, here are some major conclusions I drew from a presentation by the CCT (CSAP Communications Team) at a hip-hop summit, which contained significant research on teen trends and put it into a generational perspective. This is a long one. If I'd known I'd have this long a list, I likely would have made this a 4 part series. Twenty-twenty hindsight. Anyway, these conclusions are couched from a design perspective. And they represent my personal observations and conclusions, and the presentation.

1) Teen trends define popular culture. It’s a given that the teens of today will be the leaders of tomorrow. From that perspective, we can evaluate past social trends which moved from the fringes to the mainstream: rock and roll in the 50’s, the peace movement and student activism of the 60’s, etc. Generations define themselves, by self-identifying themselves as a member of that generation, as opposed to another. The key “generations” identified by CCT were:

• Baby Boomers (1946-1960)
• Generation X (1960-1982)
• Generation Y (1982-2003).

Personally, what I note here is the generality of the groupings. The first is just 14-year block, the next a grouping of 22 years, and the last also 22 years. I think the first block (boomers) is more accurate, and in reality believe we are dealing with 2 demographics within each of the following GenX and GenY groupings. But that’s me.

The design application here is that different imagery, and even color palettes, appeal to these different age groupings (whether they would admit it or not). This is evidenced by aspects such as fashion preferences, colors of clothing and makeup marketed to different age groups within these demos, and a hundred other subtle shifts that marketers identify, but hope the rest of the public won’t. And that designers must.

2) Identifying teen trends provides an avenue to enhanced communication.
This is just common sense; if you can understand the values of an audience (in this context a specific generation), you can more effectively communicate with that audience (generation). In terms of design, this means the type of images you provide, the age ranges, and the looks of that audience.

This is one of the major problems with stock imagery—it’s pretty old in general, and the look of the least expensive imagery is often 10 years old. While this isn’t problematic for younger age groups (kids 7 and under look surprisingly the same in generation after generation, down t the color palette of their clothes), in older age groups and especially in teens, images taken a year ago can already look dated. By the same token, images that try to look too trendy can get outdated even faster. The key here is to go with a timeless feel, but within the context of popular culture. Go for modern hip-hop looks, but not too cutting edge within that look. Allow for the timelessness of Goth, Sk8r dude, and fashionable teens as well as straighter hip-hop looks. And mix and match, with authenticity.

Frankly the best place to tell if you’re hitting the mark in these elements are to tour a local Wal Mart or Target or Kmart, or any of the other stores that try to pull in and appeal to the same demographic. You don’t need to be cutting edge. But you do need to be real.

3) The key features of a generation are always value-based.
This was a key element of the CCT presentation, and I think a truism for any demographic. The key values of a specific demo, once identified and broken down, will always have design applications. Again, core values include:
— Self-reliance (Value independent thinking, do-it-yourself approach)
— Idealism(positive about future, see great future opportunities)
— Activism (support for social issues, see role in improving world)
— Morality/Spirituality (importance of faith, not necessarily linked to formal groups)
— Authenticity (want truths without distortion)
— Identity (tension of conformity and individualism)

4) Longevity of message is achieved by appeal to core values.
Just as formulating effective designed messages relies on identifying and understanding teen trends, effecting change relies on the messages ability to connect with core values.

5) Hip-Hop is a dominant teen trend.
Not necessarily the teen trend, but arguably one of the top five, if not top three. I think this will vary according to what part of the country you travel (or market, or design) to. This was the central assumption of the summit, and is supported by the CCT research package. While it is not the only teen trend, it is defined overwhelmingly as the dominant trend. And, even though it has been a trend for well over a decade, it shows no sign of diminishing or being replaced. From this perspective, it’s a mistake not to look to connecting with this demographic more specifically in any visual
communication.

6) Sincerity in communication is essential.
Insincerity is a killer. Anyone who has ever seen a teen’s reaction to an adult comic trying to rap has an idea of the discomforting squeamishness that’s provoked, much the same discomfort as experienced by any parent seeing a young girl croon a Britney Spears sex ballad. It’s something beyond the singers’ experience, and just plain wrong. Communication with a youth demographic should be painfully sincere, and checked for that sincerity at key points with aspects of the actual demographic, whenever possible.

This isn’t to say that it’s impossible to fake it within design. Some of the most convincing kids artwork I’ve seen was created by adults, mimicking the key aspects of kids art. But it has to be done with real kids art reference on hand, not from “feel.” It needs to be compared to that for authenticity. The same, for another example, with graffiti-style design. It needs to be compared to the realistic context in order to be sure it feels authentic and sincere. I’ve seen both these examples done well and effectively, as well as poorly and insincerely. The key is being able to know the demographic well enough to tell that difference.

Next week: Thoughts on Branding and Identity