话题背景在业内,评判一位设计师是否成功,有一半以上的决定因素在于审视其能否形成独特的设计审美风格。就譬如在国内,言简约主义必提梁志天,新东方风格的领军者则非邱德光莫属。当然,这所谓的审美风格是与设计师的审美修养、设计理念、设计经营的品牌运作等要素密切相关。这些要素互相观照,互相渗透,聚焦在一起共同呈现出某一设计师或某一设计机构对设计业态的理解。然而,在国内,如何对设计风格进行合理的定义一直存在纷争。从前几年新东方主义的兴起,引发了一股对新东方风格内涵的探讨,风格说喧嚣直上。直到这几年来,随着系统化运作的成熟,风格标签渐渐较少为人们所提及,取而代之的是对“设计辨识度”的研究和探讨。它涵盖的面更广,所涉及的不单单是设计层面,更是掌握了设计管理及品牌运作的 Topic Background In the industry, to judge a designer’s success, more than half of the deciding factor is to examine whether it can form a unique aesthetic design style. For example, in China, the minimalism must mention Liang Zhitian and the leader of the New Oriental style rather than Qiu Deguang. Of course, this so-called aesthetic style is closely related to the designer’s aesthetic accomplishment, design philosophy, design and operation of the brand and other elements. These elements of mutual observation, mutual penetration, focus together to show a designer or a design agency to understand the design format. However, at home, there is always a dispute about how to define the design style reasonably. The rise of neo-Orientalism in the past few years has triggered an exploration of the connotation of the New Oriental style. Until these few years, with the maturity of the systematic operation, style labels gradually less people mentioned, replaced by the “Design Identification ” research and discussion. It covers a broader area, not only involved in the design level, but also mastered the design management and brand operation