German design is losing its appeal – especially when it comes to what was once the country’s export champion: luxury cars. Critics scoff at gruff grilles and bulky bodies. Meanwhile, Chinese electric cars surprise with their sleek elegance, while back home there is a sense of crippling stagnation. Is Germany’s design industry really in crisis? And what is behind this fundamental criticism?
by Oliver Herwig
A more nuanced view of the design ethos behind ‘Made in Germany’ is offered by a new study by strategic consultancy Sturm und Drang, conducted in partnership with Serviceplan and Meisterkreis. The findings reveal a telling contrast: international respect for German design remains strong, but domestic perceptions are deeply divided. If there is a crisis, it lies in how “German design” is being presented in the mid-2020s.
The numbers speak for themselves: 39% of international consumers have a more positive view of ‘Made in Germany’ than ever before, while 42% of Germans believe its image has worsened.This stark contrast reveals a deep-rooted sense of insecurity. Germany’s self-image is wavering in the face of systemic problems: paper-based bureaucracy continues to dominate public administration, the Berlin airport has become a national joke and the crumbling state of roads and railways is plain for all to see. Meanwhile, Germany’s trusted export model is crumbling, and Trump is hammering away at globalisation.
So the sharp criticism of design isn’t just about aesthetics – it reflects doubts about Germany’s ability to innovate and fears of a wider decline in its relevance as an industrial nation. If technology is no longer superior or inspiring, then we have to ask: what cultural value does a product have? Put bluntly, where is its soul?
‘39% of international consumers have a more positive view of ‘Made in Germany’ than ever before, while 42% of Germans believe its image has worsened‘
Design Is More Than Styling
There are other reasons for this so-called ‘German Design Angst‘. Between the Ems and the Isar, the myth persists that design is just a decorative shell around the real innovation work that engineers are supposed to do. Nothing could be further from the truth. Design is not an afterthought, but a central part of product development. When cars roll off the assembly lines in Wolfsburg, Ingolstadt or Zuffenhausen, design is the glue that holds global supply chains together. Brand design has to unify products and make them sell.
But what makes design ‘German’? Is it perfectionism? Or just the place of production? No, we’ve gone beyond that. More than 50 years ago, Giorgetto Giugiaro designed the first Golf – the father of a whole class of vehicles. Globalisation and stricter regulations have led to a significant internationalisation and homogenisation of car design. All that remains are stereotypes: ‘good design’, ‘lead by technology’ or ‘mechanical perfectionism’.
Design is much more than styling – it is now a cornerstone of society and a major economic driver. It ensures we can interact with everyday objects (interface design), that different users can access the same services (universal design), and it explores possible futures (speculative design). These aren’t just buzzwords – they are proof that design is now shaping quality of life, participation and sustainability. The holistic view of the designer is what really counts – not the piece of metal bent over an engine and a few passengers. And this is nothing new: the Ulm School already understood design as a contribution to a better society.
From Perfection to Emotion
A closer look at real-life examples reveals how German design is quietly but effectively reinventing itself:
- Occhio, based in Munich, transforms light into a sensory experience and cultural asset. Although production is outsourced, the design process remains firmly rooted on the Isar. This is an example of a new confidence in managing global value chains while maintaining a local brand identity – similar to Apple’s ‘Designed in California’.
- Mercedes-Benz has long since broadened its horizons beyond the car. Under the slogan ‘Design beyond the car’, it now creates yachts, architectural concepts, interiors – and most recently a streetwear line with Moncler. Not everything is original, but much of it is strategically clever: the brand is being stretched, but with a purpose.
- Phoenix Design, once a classic product design agency, now focuses on systemic user experiences, such as for Hansgrohe, where the focus has shifted from taps to the entire ‘bathroom experience’. Technology, space and emotion merge into a design concept reminiscent of the Ulm School: radically functional yet human-centred.
- Furniture and product design is also evolving: Stefan Diez, for example, combines sustainability with functionality in his work for brands such as Midgard. His ‘AYNO‘ lighting series does away with hinges and relies on flexible fibreglass rods, making it resource-efficient. Studio Œ (Lisa Ertel and Anne-Sophie Oberkrome) go further – their work challenges traditional production processes and embraces speculative, socially reflective approaches, often infused with subtle irony.
This fits with a wider trend identified in the study: design is increasingly offering “transformative solutions and meaningful spaces for living”. The isolated product is giving way to a holistic perspective, driven by digital connectivity. Many German studios and companies have already adapted, now that a once unique selling point is fading. The formal rigour and technical finesse of German design – once revered around the world – now faces stiff competition. Minimalism is no longer a rarity. Chinese companies now manufacture with equal precision. As the what and the how converge, the why becomes crucial. Questions such as: What does this product say? And what values does it convey?
The study cited above highlights the growing importance of ‘intangibles’ – cultural, environmental and social value. Worldwide, 33% of consumers prefer brands that clearly communicate their origin. ‘Designed in California’ is already a brand in itself. So why not ‘Designed in Germany’ – with a fresh twist?
‘Worldwide, 33% of consumers prefer brands that clearly communicate their origin.‘
What Remains of ‘Made in Germany’?
So the question isn’t whether German design still shines internationally. It’s how it can be charged with values – a new blend of engineering know-how, social responsibility, ecological awareness and cultural intelligence, as embodied by designers like Stefan Diez.
The real challenge for German design is to bridge the technical and the human, to create systems and shape atmospheres. For too long, minimalism and perfection have been seen as the only standards. But when others can manufacture just as precisely, attention shifts to how a product is made – and how much it burdens people and the planet in the process. More and more consumers want to know not just what a product does for them, but what it does for society.
We don’t need a fairytale revival of German design, but a clear-eyed look at how the ‘Made in Germany‘ label is evolving. Instead of cold perfectionism, it could be sustainability – both environmental and social – that offers a credible alternative to technological (US) and manufacturing (China) dominance. That doesn’t mean compromising on quality, of course. But the era of grille-styling is over. Design is far from finished – it is in motion. And that, despite the criticism, is good news for anyone who wants to stay in shape.
Source:
DIE ZUKUNFT VON ‘MADE IN GERMANY’. Narrativstudie. Das wandelnde Image- und Bedeutungsbild von „Made in Germany“ in internationalen B2C Konsummärkten. A study by STURM and DRANG in co-operation with Serviceplan and Meisterkreis.
Share on Social Media
About the Author
Dr. Oliver Herwig, journalist and presenter. Design expert for AD, FR, FAZ QUARTERLY, nomad, ndion, NZZ and SZ; design theorist at the University of Art and Design Linz and the HfG Karlsruhe. Winner of the Karl Theodor Vogel Prize for outstanding technical journalism and the COR Prize for ‘Living and Design’. Has worked and studied in England, the USA and Norway. He has been a science journalist in Tübingen, guest editor at *wallpaper in London, and editor-in-chief at nomad. Author of around three dozen books on architecture and design, including Michele De Lucchi, Flying Buildings and Entertainment Architecture.
