在招募設計團隊方面,Wert & Co.有一套行之有效的方法論。自1995年成立以來,該公司為《財富》美國500強公司、全球各大品牌和新創企業招募了不少頗有分量的設計類關鍵帶頭人。朱迪·韋特是一名設計師,她和丈夫杰夫在兒子丹尼爾上幼兒園的第一天,在自家客廳創辦了業務遍布東西海岸的獵頭公司。作為協助大公司尋覓設計、技術和創新類人才不可或缺的可靠合作伙伴,隨著客戶群不斷增長,公司聲譽也越來越好。現在,她的兒子丹尼爾已經為公司邁入下一階段做好了準備:憑借為早期創業公司做人力資源工作的背景,他加入公司并擔任總經理一職;除了負責工程、設計和產品類職位的招聘工作,還雄心勃勃地參與到設計行業領導人才的發展中。在此,這對母子檔談到了公司早期的發展歷程、設計業的前景以及C級高管到底需要什么樣的特質。
《財富》:Wert & Co.是怎樣創建的?
朱迪·韋特:當時數字領域才剛剛興起,設計和科技行業都在尋找發展方向。我們先是租了一張辦公桌,接著幾個月后租了間辦公室開始創業。再過了幾個月,我們雇了員工,而客戶也在持續增長。那是一個很好的時機,適合挖掘希望在設計和科技助力商業的新浪潮中乘風破浪的人才。我們的品牌理念是:“在這里,讓跨領域學科找準定位,讓設計助推商業成功。”這是我們在1995年做出的承諾,但行業發展到今天也依然適用。
隨著時代變遷,設計行業發生了哪些轉變?
丹尼爾·韋特:如果從我們公司的發展歷程來看,設計業的變化軌跡與爆發新冠疫情以后會有所不同。以旁觀者的視角看來,有兩點讓我頗為震驚。第一,設計受到了重視。在以前,設計被視為輔助的注腳或事后想法。當然,隨著技術的崛起,越來越多的公司轉型成了科技公司,所以設計的重要性也增加了。對Wert & Co.而言,最初很多客戶都屬于時尚、平面設計、工業設計和印刷等創意領域。而后,我們開始越來越多地接觸軟件開發公司??萍颊紦宋覀兒芏嗟纳羁臻g,而設計是生活的反映。這是一個很大的轉變。如今在領導層、董事會和風險投資中,都能夠看到設計的身影。在公司從無到有的階段,設計變得越來越重要。
爆發疫情后,設計業有哪些變化?疫情有沒有改變公司的招聘方式?
丹尼爾·韋特:人才庫現在都是全球化的。如今,很多公司更愿意到非典型的地方招募人才,以建立更國際化的網絡。如果你開的小公司位于小鎮,而一群大公司喊著“我們要去那里搞招聘”,那么這間小公司就會面臨前所未有的競爭。在這種情況下,難以從地理角度來推斷員工的薪酬,通常大型公司將從中受益。疫情肯定催生了這種轉變,但誰也無法預測5至10年后會是什么樣......我認為,員工從來沒有像今天這樣擁有如此大的權力,這將迫使公司改變留住員工的方式,比如提供居家工作的選擇和其他福利。在過去一年里,每個人的理想生活都面臨危機,就業環境也變得更加復雜。幾乎每家公司都把招聘計劃擱置了很久,而現在,他們正試圖把失去的時間補回來。
你提到各大公司正在追趕招聘進度,如何看待這種情況?
丹尼爾·韋特:我們都聽過“雇用要慢,解雇要快”的諺語,也明白其含義是:雙重考量,一次解決,如果公司發展不順利,就需要迅速果斷地做出決策。如果公司不夠體貼,就會優化在職員工,而不一定要留人。因此,目前可能會出現減員和裁員潮。我希望不要發生這種情況,但如果發生了也不會感到驚訝。
朱迪·韋特:需要在招聘和規劃時建立更多規則,以便留住人才和壯大公司文化。
過去一年里,您的公司完成了哪些重要的招聘工作?
朱迪·韋特:我們有幸參與的獵頭工作體現了不同的范疇,并更加深刻地凸顯出設計在當下的地位。疫情期間,我們為《紐約時報》(New York Times)尋覓到一位產品設計高級副總裁。這是一家受強烈使命感驅動的媒體,而好的新聞工作比以往任何時候都重要。在爆發疫情和種族正義運動期間,《紐約時報》需要尋找人才提升產品設計,這項工作很復雜,也令人興奮,雇傭環節還涉及多方利益相關者。《紐約時報》在尋求轉型,我們的文化和世界也在發生改變。另一大領域則圍繞著數據和隱私;實時數據和人工智能正在成為常態。我們需要為一家金融機構的數據倫理和機器學習部門招募一位經驗豐富的設計領導者,其工作需要以負責、安全的方式解鎖數據。第三項任務則與旅游業有關。我們都知道,該行業受到了疫情的嚴重沖擊。我們為四季酒店(Four Seasons)招募到一位高級設計副總裁。該公司正在思考奢侈品消費者的未來,特別打算在后疫情時代,利用設計思維優化四季酒店的體驗和品牌接觸點。
為什么招募設計類人才很重要?
朱迪·韋特:對企業而言,設計是一項極具戰略性的工具。企業需要精通工藝、內容和技術,并且懷著無限勇氣和信念帶來改變的設計師。無論是社會創新還是其他新的賽道,現在都有很多創新的機會,而公司內部也正在組建新的專門聚焦設計的業務團隊。
人才庫的情況如何?是如何演變的?
丹尼爾·韋特:隨著人們不再執著于科班出身背景,出現了越來越多非傳統教育背景的人才。我們看到新的教育機構、訓練營和獎學金層出不窮,而人們接受教育的途徑比以前更為豐富。直至今日,四年制本科學位的吸引力已經大不如前,市面上涌現了大量新的學習方式和邁入高技能職位的途徑。這是人才庫發生的一大巨變。
朱迪·韋特:我想補充的是,如今還逐漸出現了導師群體。人們意識到需要為下一代規劃未來,而處于行業頂尖位置的人士則在想辦法回饋社會。這是一個為未來著想的良好轉變,我認為教育必須成為其中的一部分。如何引導商科類學生與設計師聯手?如何促進設計師與政府機構的合作?技術專家又如何與商人合作?這些問題比只是學習商業或設計更為復雜,而現在正是需要專業導師提供引導的時候。
教育系統應如何參與其中?
丹尼爾·韋特:我們必須保證設計的發展方式和工程類一樣。有人可能把設計等同于藝術,甚至在家長-教師層面也是如此。然而,設計和藝術是截然不同的。設計之于企業,如同MBA或軟件工程師一樣關鍵。設計給世界帶來了價值,如果我們想擴充設計師人才庫,就需要影響更多下一代學習設計。
朱迪·韋特:盡管許多客戶都看重工藝和美學,但我認為兩者只占設計的一小部分。企業希望員工可以具備戰略思考,又能夠做出令人愉悅的漂亮設計。通過常規教育,人們可以獲得一部分技能。我們推薦過一位有計算機背景的高級副總裁,但他負責的產品設計卻是學科之外的領域。現在的工作跨越了業務、設計和技術,而教育機構必須把這些要求結合起來。
客戶最需要具備哪些技能的人才?
丹尼爾·韋特:多才多藝的T型人才。客戶需要精通某一項技能,但在其他方面同樣很優秀的人才。對風險環境感到興奮的人會發現更多機遇。早期的創業公司提供了很多機會,但一定會有風險。
朱迪·韋特:我認為處于快速變化的企業中,這種品質同樣是首位的。如果想在初創企業或《財富》美國500強企業闖出一片天地,沒有一定的韌性和風險承擔能力,就可能被淘汰。行業正在快速發展,你需要掌握特定領域的知識,也需要保持專業度和符合個人成長目標的品質,努力適應令人不舒適的工作,將其變成加分項。
C級高管需要具備哪些特質?
朱迪·韋特:對于設計師和設計行業領導者來說,溝通和敘事很重要。講好故事容易打動合作伙伴和利益相關者,而具備高超的溝通技巧,便能夠應對艱難的對話。設計師若想獲得高管青睞,需要掌握溝通的藝術。這并非只是建立一種策略,也關乎在快速壯大的企業里如何塑造和加以推行。設計行業發展迅速,而企業的發展也如此之快,對于想要成功的人來說,信念至關重要。
目前,《財富》美國500強企業在設計領域面臨的最大挑戰是什么?
丹尼爾·韋特:沒有足夠的設計師來滿足當下的需求。目前的供需并不平衡,這對那些十分看重設計的《財富》美國500強公司來說將是巨大的挑戰。它們以前需要雇傭兩位設計師,但現在需要六位。教育機構應該為未來做好準備。
Wert & Co.的下一步計劃是什么?
朱迪·韋特:我們正在觀察應如何讓設計融入企業——讓企業家、發明家和科學家協同合作——我們也想確保自己能夠關顧到下一代的發展。我們要在公司和人才之間拓展更廣泛的人力資源,而以何種方式實現,還請拭目以待。我們對前景和自身策略感覺不錯,但同時也盡量靜觀其變,避免倉促行事。對于未來,我們倍感激動。(財富中文網)
譯者:Emily
在招募設計團隊方面,Wert & Co.有一套行之有效的方法論。自1995年成立以來,該公司為《財富》美國500強公司、全球各大品牌和新創企業招募了不少頗有分量的設計類關鍵帶頭人。朱迪·韋特是一名設計師,她和丈夫杰夫在兒子丹尼爾上幼兒園的第一天,在自家客廳創辦了業務遍布東西海岸的獵頭公司。作為協助大公司尋覓設計、技術和創新類人才不可或缺的可靠合作伙伴,隨著客戶群不斷增長,公司聲譽也越來越好。現在,她的兒子丹尼爾已經為公司邁入下一階段做好了準備:憑借為早期創業公司做人力資源工作的背景,他加入公司并擔任總經理一職;除了負責工程、設計和產品類職位的招聘工作,還雄心勃勃地參與到設計行業領導人才的發展中。在此,這對母子檔談到了公司早期的發展歷程、設計業的前景以及C級高管到底需要什么樣的特質。
《財富》:Wert & Co.是怎樣創建的?
朱迪·韋特:當時數字領域才剛剛興起,設計和科技行業都在尋找發展方向。我們先是租了一張辦公桌,接著幾個月后租了間辦公室開始創業。再過了幾個月,我們雇了員工,而客戶也在持續增長。那是一個很好的時機,適合挖掘希望在設計和科技助力商業的新浪潮中乘風破浪的人才。我們的品牌理念是:“在這里,讓跨領域學科找準定位,讓設計助推商業成功?!边@是我們在1995年做出的承諾,但行業發展到今天也依然適用。
隨著時代變遷,設計行業發生了哪些轉變?
丹尼爾·韋特:如果從我們公司的發展歷程來看,設計業的變化軌跡與爆發新冠疫情以后會有所不同。以旁觀者的視角看來,有兩點讓我頗為震驚。第一,設計受到了重視。在以前,設計被視為輔助的注腳或事后想法。當然,隨著技術的崛起,越來越多的公司轉型成了科技公司,所以設計的重要性也增加了。對Wert & Co.而言,最初很多客戶都屬于時尚、平面設計、工業設計和印刷等創意領域。而后,我們開始越來越多地接觸軟件開發公司??萍颊紦宋覀兒芏嗟纳羁臻g,而設計是生活的反映。這是一個很大的轉變。如今在領導層、董事會和風險投資中,都能夠看到設計的身影。在公司從無到有的階段,設計變得越來越重要。
爆發疫情后,設計業有哪些變化?疫情有沒有改變公司的招聘方式?
丹尼爾·韋特:人才庫現在都是全球化的。如今,很多公司更愿意到非典型的地方招募人才,以建立更國際化的網絡。如果你開的小公司位于小鎮,而一群大公司喊著“我們要去那里搞招聘”,那么這間小公司就會面臨前所未有的競爭。在這種情況下,難以從地理角度來推斷員工的薪酬,通常大型公司將從中受益。疫情肯定催生了這種轉變,但誰也無法預測5至10年后會是什么樣......我認為,員工從來沒有像今天這樣擁有如此大的權力,這將迫使公司改變留住員工的方式,比如提供居家工作的選擇和其他福利。在過去一年里,每個人的理想生活都面臨危機,就業環境也變得更加復雜。幾乎每家公司都把招聘計劃擱置了很久,而現在,他們正試圖把失去的時間補回來。
你提到各大公司正在追趕招聘進度,如何看待這種情況?
丹尼爾·韋特:我們都聽過“雇用要慢,解雇要快”的諺語,也明白其含義是:雙重考量,一次解決,如果公司發展不順利,就需要迅速果斷地做出決策。如果公司不夠體貼,就會優化在職員工,而不一定要留人。因此,目前可能會出現減員和裁員潮。我希望不要發生這種情況,但如果發生了也不會感到驚訝。
朱迪·韋特:需要在招聘和規劃時建立更多規則,以便留住人才和壯大公司文化。
過去一年里,您的公司完成了哪些重要的招聘工作?
朱迪·韋特:我們有幸參與的獵頭工作體現了不同的范疇,并更加深刻地凸顯出設計在當下的地位。疫情期間,我們為《紐約時報》(New York Times)尋覓到一位產品設計高級副總裁。這是一家受強烈使命感驅動的媒體,而好的新聞工作比以往任何時候都重要。在爆發疫情和種族正義運動期間,《紐約時報》需要尋找人才提升產品設計,這項工作很復雜,也令人興奮,雇傭環節還涉及多方利益相關者?!都~約時報》在尋求轉型,我們的文化和世界也在發生改變。另一大領域則圍繞著數據和隱私;實時數據和人工智能正在成為常態。我們需要為一家金融機構的數據倫理和機器學習部門招募一位經驗豐富的設計領導者,其工作需要以負責、安全的方式解鎖數據。第三項任務則與旅游業有關。我們都知道,該行業受到了疫情的嚴重沖擊。我們為四季酒店(Four Seasons)招募到一位高級設計副總裁。該公司正在思考奢侈品消費者的未來,特別打算在后疫情時代,利用設計思維優化四季酒店的體驗和品牌接觸點。
為什么招募設計類人才很重要?
朱迪·韋特:對企業而言,設計是一項極具戰略性的工具。企業需要精通工藝、內容和技術,并且懷著無限勇氣和信念帶來改變的設計師。無論是社會創新還是其他新的賽道,現在都有很多創新的機會,而公司內部也正在組建新的專門聚焦設計的業務團隊。
人才庫的情況如何?是如何演變的?
丹尼爾·韋特:隨著人們不再執著于科班出身背景,出現了越來越多非傳統教育背景的人才。我們看到新的教育機構、訓練營和獎學金層出不窮,而人們接受教育的途徑比以前更為豐富。直至今日,四年制本科學位的吸引力已經大不如前,市面上涌現了大量新的學習方式和邁入高技能職位的途徑。這是人才庫發生的一大巨變。
朱迪·韋特:我想補充的是,如今還逐漸出現了導師群體。人們意識到需要為下一代規劃未來,而處于行業頂尖位置的人士則在想辦法回饋社會。這是一個為未來著想的良好轉變,我認為教育必須成為其中的一部分。如何引導商科類學生與設計師聯手?如何促進設計師與政府機構的合作?技術專家又如何與商人合作?這些問題比只是學習商業或設計更為復雜,而現在正是需要專業導師提供引導的時候。
教育系統應如何參與其中?
丹尼爾·韋特:我們必須保證設計的發展方式和工程類一樣。有人可能把設計等同于藝術,甚至在家長-教師層面也是如此。然而,設計和藝術是截然不同的。設計之于企業,如同MBA或軟件工程師一樣關鍵。設計給世界帶來了價值,如果我們想擴充設計師人才庫,就需要影響更多下一代學習設計。
朱迪·韋特:盡管許多客戶都看重工藝和美學,但我認為兩者只占設計的一小部分。企業希望員工可以具備戰略思考,又能夠做出令人愉悅的漂亮設計。通過常規教育,人們可以獲得一部分技能。我們推薦過一位有計算機背景的高級副總裁,但他負責的產品設計卻是學科之外的領域?,F在的工作跨越了業務、設計和技術,而教育機構必須把這些要求結合起來。
客戶最需要具備哪些技能的人才?
丹尼爾·韋特:多才多藝的T型人才??蛻粜枰骋豁椉寄埽谄渌矫嫱瑯雍軆炐愕娜瞬拧︼L險環境感到興奮的人會發現更多機遇。早期的創業公司提供了很多機會,但一定會有風險。
朱迪·韋特:我認為處于快速變化的企業中,這種品質同樣是首位的。如果想在初創企業或《財富》美國500強企業闖出一片天地,沒有一定的韌性和風險承擔能力,就可能被淘汰。行業正在快速發展,你需要掌握特定領域的知識,也需要保持專業度和符合個人成長目標的品質,努力適應令人不舒適的工作,將其變成加分項。
C級高管需要具備哪些特質?
朱迪·韋特:對于設計師和設計行業領導者來說,溝通和敘事很重要。講好故事容易打動合作伙伴和利益相關者,而具備高超的溝通技巧,便能夠應對艱難的對話。設計師若想獲得高管青睞,需要掌握溝通的藝術。這并非只是建立一種策略,也關乎在快速壯大的企業里如何塑造和加以推行。設計行業發展迅速,而企業的發展也如此之快,對于想要成功的人來說,信念至關重要。
目前,《財富》美國500強企業在設計領域面臨的最大挑戰是什么?
丹尼爾·韋特:沒有足夠的設計師來滿足當下的需求。目前的供需并不平衡,這對那些十分看重設計的《財富》美國500強公司來說將是巨大的挑戰。它們以前需要雇傭兩位設計師,但現在需要六位。教育機構應該為未來做好準備。
Wert & Co.的下一步計劃是什么?
朱迪·韋特:我們正在觀察應如何讓設計融入企業——讓企業家、發明家和科學家協同合作——我們也想確保自己能夠關顧到下一代的發展。我們要在公司和人才之間拓展更廣泛的人力資源,而以何種方式實現,還請拭目以待。我們對前景和自身策略感覺不錯,但同時也盡量靜觀其變,避免倉促行事。對于未來,我們倍感激動。(財富中文網)
譯者:Emily
When it comes to hiring design teams, Wert & Co. has a proven formula. The agency has collectively brokered a significant share of key design leadership roles at Fortune 500 companies, global brands, and innovative start-ups since 1995. Judy Wert, a designer by trade, started the bi-coastal executive search firm with her husband Jeff in their living room on the first day their son Daniel went to kindergarten. As her clientele grew, so did her reputation as a trusted and integral partner to major corporations in hiring for design, technology, and innovation. Now, ready for the company’s next phase, Daniel has joined as managing director, bringing with him a background in human resources for early start-ups; recruiting for engineering, design and product; and an ambition to participate in the next phase of growth for design leadership. Here, the mother-son team discuss the firm’s early years, where the design space is headed and what c-suite leadership are looking for.
Fortune: How did you start Wert & Co.?
JW: The digital explosion had just started; design and technology were finding their way together. We rented a desk, and a few months later we rented an office. A few months after that, we hired some people. Our clients continued to grow. It was a wonderful time to tap into talent who were looking to ride the next wave of what design and technology were going to do for business. We had a tagline, “Where converging disciplines find their place. Where design is integral to business success.” Those were our commitments back in 1995 and they remain true today, though that story is expanding.
How have you seen the industry shift over time?
DW: If we are looking at the arc over our history, the answer is different than the arc since COVID. From my perspective, watching from the sidelines, two things have stuck out for me. First, design is seen as important. Earlier, it was seen as a footnote, or an afterthought. Then, of course, there’s a technology component, as more and more companies become tech companies, so to speak. For Wert & Co., a lot of our work was initially in fashion, graphic design, industrial design, and print; anywhere creativity lived. More and more, you’re starting to see hardware with a software component. Technology has taken over a lot of our lives and the design industry is a reflection of our lives. That is a big shift. Now we’re seeing design at the leadership level and in boardrooms, in venture capital. Design is having its moment at the zero to one stage of a company.
And the arc since COVID? Has the pandemic changed the way companies are hiring?
DW: The talent pool is inherently global now. Companies are now more open to recruiting in atypical places, creating a more international web. If you’re a small company in a small town, and a bunch of large companies say, “We’re going to recruit there,” that small company now has competition it never had before. Compensation in that scenario is more geographically agnostic. The larger companies will benefit from this. That’s for sure a shift accelerated by COVID, but who knows what that looks like five to 10 years from now…I don’t think the employee ever has had as much power as it has today. That will force companies to change the way they retain people with the option to work from home and the benefits they offer. That’s been compounded by everyone in the last year having a crisis on what they want in life. In addition, almost every company has put hiring on hold for too long and they are trying to make up for lost time.
You mention companies playing catch up with hiring. How do you see that playing out?
DW: We have all heard the adage, “Hire slowly, fire quickly.” I think we all know what it means: Measure twice, cut once, and if things don’t work out, be decisive and swift. If companies aren’t thoughtful, they are optimizing for butts in seats and not necessarily for retention. There could be a recoil down the line in the form of attrition and layoffs. I hope that doesn’t happen, but I wouldn’t be surprised if it did.
JW: There needs to be more discipline built into hiring, recruiting and planning, to allow for retention and thriving culture.
What are some examples of roles you've filled in the last year?
JW: I do think the searches we’ve been privileged to work on show a range and speak to where design is in the conversation now in a deeper way. We completed a search for the New York Times during COVID for their SVP of Product Design. We know good journalism matters now more than ever, and this is an incredibly mission-driven ambitious company. The Times was looking for someone to elevate product design, amid COVID, amid racial justice movement. That was complex and exciting, and there were multiple stakeholders involved to sign off on the hire. It was a moment in time for the NYT, during a moment in time in our culture and our world. Another big area is around data and privacy; real time data and AI are becoming the norm. We were tasked with hiring an experienced design leadership role for data ethics and machine learning at a financial institution. The goal was to unlock data, but in a responsible and secure way. A third was related to travel, which we all know was heavily impacted by COVID. We hired an SVP of Design for the Four Seasons. The company is thinking about the future of the luxury consumer, especially post COVID, and using design thinking at every touch point of the Four Seasons brand experience.
Why is hiring in the design space important?
JW: Design is such a strategic tool for these businesses. They need designers who have craft and content fluency, technological fluency, and unfettered courage and conviction to make a difference in the world. There is so much opportunity for innovation, be it social innovation or new avenues where people inside companies are building new business groups focused on how design can play a role.
What is the talent pool like and how is it evolving?
DW: There are more nontraditional educational backgrounds as the trend moves away from formal degrees. We’re seeing the emergence of new educational institutions, boot camps, and fellowships. There are more and more ways for people to be trained up than ever before. The allure of a four-year degree has been eroded over time and there are a ton of new ways to learn and get into high skilled positions. That has been a huge shift in the talent pool.
JW: I’d add that the mentorship community has stepped up. People are realizing we need to plan for the next generation. There are people who are at the top of their game and are trying to figure out how they give back. That’s a big, wonderful shift to think about for the future, and I think education has to be part of that conversation. How are we educating a business student to work with a designer? A designer to work with a government agency? A technologist to work with a business person? It's more complex than just to go and study business or design. This is the time mentoring needs to happen more prolifically.
How can the education system participate?
DW: We have to make sure design grows in the same way engineering has. Even at the parent-teacher level, where some may equate design with art. Design and art are not the same things. Design can be as critical to a business as an MBA or a software engineer. If we're going to increase the talent pool of designers, more kids will be influenced to go into design because of the value it brings to the world.
JW: I think craft and aesthetics is one small piece of design, but it is still an ask by many of our clients. They want their hires to think through strategy, and make it delightful and beautiful. Some of that is learned through a disciplined education. We placed an SVP who was trained as a computer scientist. He is now in charge of product design, but it was really about what he exposed himself too outside of that. It is about being fluent in the business, the design, and the technology. Educational institutions are going to have to marry those requirements.
What are the most sought-after skill sets for your clients?
DW: T-shape versatility. Clients want someone who is great at one thing and pretty good at everything else. And then, if you can market yourself as someone who finds risk exciting, you’ll find so many more opportunities. There are a lot of opportunities at earlier stage startups and there is an inherent level of risk there.
JW: I think that same quality is paramount in a business that is in rapid pace of change. If you want to make a difference whether it’s a startup or a Fortune 500, if you aren’t wired with resilience and some risk you might be left behind. It’s fast moving. You need to have mastery of domain knowledge, and other qualities that are going to keep you on track toward professional and personal growth and purpose. You need to be comfortable with what’s uncomfortable.
What about C-Suite leadership?
JW: It is important for designers and design leaders to communicate a narrative. Storytelling is something people need to influence partners and stakeholders and be inside the hard conversations, with mastery. For designers to have executive access, they need to be able to communicate the narrative. It isn’t about just creating a strategy. How do you then shape it and push it through an organization that’s working at speed and scale? The industry is moving so fast. Businesses are growing so quickly. Conviction is paramount for anyone who wants to succeed.
What is the biggest challenge facing Fortune 500 companies in the design space at the moment?
DW: There aren't enough designers to meet today's demand. The needs and demands are incongruent, at the moment. That will be huge for the Fortune 500 companies that are now seeing design as important. They once needed to hire two designers, but now they need six. Educational institutions need to prepare for the future.
What is next for Wert & Co.?
JW: We are watching and observing in terms of how design is integrated in organizations— the entrepreneurs and inventors and scientists— and we want to make sure we are taking care for the next generation. We need to be a wider human resource for companies and talent alike. What format that takes, stay tuned. We have a good feel for what it’s going to look like and how we’ll speak about it. But we are trying to make sure we don’t rush that process and speak before it finishes. We're excited for the next chapter.