It never ceases to amaze me what it takes to develop and bring to mass production a product.
People's interest is in the product, not in its authorship.
The computer industry is creatively bankrupt.
There was a 'Wired' cover that had a big Apple logo with a crown of barbed wire as thorns, and underneath it just said, 'Pray.' I remember this because of how upsetting it was. Basically saying either it's going to just go out of business or be bought.
I always like when you start to use something with a little less reverence. You start to use it a little carelessly, and with a little less thought, because then, I think, you're using it very naturally.
What we make testifies who we are. People can sense care and can sense carelessness. This relates to respect for each other and carelessness is personally offensive.
If you expect me to buy something where all I can sense is carelessness, actually I think that is personally offensive.
We won't do something different for different's sake. Designers cave in to marketing, to the corporate agenda, which is sort of, 'Oh, it looks like the last one; can't we make it look different?' Well no, there's no reason to.
Simplicity is not the absence of clutter, that's a consequence of simplicity. Simplicity is somehow essentially describing the purpose and place of an object and product. The absence of clutter is just a clutter-free product. That's not simple.
Successful collaboration, in your mind, could be that your opinion is the most valuable and becomes the prevailing sort of direction. That's not collaborating.
Eight years of work can be copied in six months. It wasn't inevitable that it was going to work. A stolen design is stolen time.
When you're doing something for the first time, you don't know it's going to work. You spend seven or eight years working on something, and then it's copied. I have to be honest: the first thing I can think, all those weekends that I could have at home with my family but didn't. I think it's theft, and it's lazy.
When something's made in the smallest volume - as a one-off couture piece - or in large quantities, deep care is critical to determine authentic, successful design and, ultimately, manufacture.
My father was a very good craftsman. He made furniture, he made silverware and he had an incredible gift in terms of how you can make something yourself.
With a father who is a fabulous craftsman, I was raised with the fundamental belief that it is only when you personally work with a material with your hands, that you come to understand its true nature, its characteristics, its attributes, and I think - very importantly - its potential.
I think subconsciously people are remarkably discerning. I think that they can sense care.
You cannot disconnect the form from the material - the material informs the form.
The iPhone was broadly dismissed. The iPod was broadly dismissed. The iPad was probably more copiously written off as a large iPod.
We all use something - you can't drill holes with your fingers. Whether it's a knife, a needle, or a machine, we all need the help of a device.
At the start of the process the idea is just a thought - very fragile and exclusive. When the first physical manifestation is created everything changes. It is no longer exclusive, now it involves a lot of people.
