Several months ago I was putting together a list of designers as possible judges for the Design 100. When I reviewed my list I was shocked that I didn’t have any women on it. The male designers names came so easily to me, and it struck me that this happens every year when I’m assembling this list. Why is that? After thinking about it some more, I decided it’s time to celebrate the women of design by devoting an entire issue of STEP to them. When I ran this idea past the STEP editorial advisors, I received overwhelming support— especially from the men.

Through this process, I became acquainted with the women who are changing and influencing the profession. Some are the usual suspects, like Paula Scher, Emily Oberman, and Bonnie Siegler, while others have flown slightly under the radar. I had a chance to interview all three of these women along with 14 others about the fame game, the challenges they faced in the early days of their careers, and the differences between them and their male counterparts (“The Establishment,” page 52). The answers to my questions are varied and unpredictable, and I was impressed with the candor from all the women. The original interview is much longer than what’s presented in the issue, so we’ve posted outtakes on our website.

This issue wouldn’t be complete without taking a look at the past. Aaris Sherin assembled a comprehensive timeline of women in design (“Memorable Moments: Women Working in Design, 1900–1980,” page 46). Ruth Ansel, one of the women referenced in the timeline, is also interviewed by Bonnie Siegler in this issue’s “Q&A,” on page 60. She served as art director at Harper’s Bazaar in the ’60s, The New York Times Magazine in the ’70s, and Vanity Fair in the ’80s, working with the likes of Andy Warhol, Richard Avedon, and Tina Brown.

ALSO INCLUDED IN THIS ISSUE:

Michelle Taute interviews 10 designers to watch in 2006 (“Women to Watch,” page 68).

Anne Telford spoke to several illustrators about their place in the industry and how it’s leveled out in recent years (“What Inequality?” page 90). Telford is also able to infuse some of her own observations, as an editor at Communication Arts for several years.

Sheree Clark shares her very personal story of coowning Sayles Graphic Design with John Sayles and her evolving relationship with him—the 13-year romance, the break-up, and now friendship, and how the business survived (“Who Would’ve Thought?” page 96). It’s 20 years in the making and still going strong.

Alissa Walker interviews women who are doing the most important work in this industry—educating the next generation of designers (“Higher Education,” page 78). They are instituting design curricula that better prepares students for the real world, as Louise Sandhaus states in the article: “I think that these women are not just concerned with cultivating professionals, but opening up a way for a generation to have wonderful lives. That’s a huge distinction. They don’t look at the discipline in a narrow way, but the skills they learn as designers can move laterally.” Well said. Maud Lavin also weighs in, from her perspective, on the differences between mentoring and mothering in “Designing New Mentoring,” on page 86.

This issue’s “Kitten Kover” (as we’ve lovingly referred to it), was designed by Number 17. When Emily and Bonnie presented the idea to me, I was a bit hesitant, but they said, “There have been enough covers of women in suits showing how well they can act like men. This is a funny and ironic cover—it has a wink. We’re taking the cuteness and owning it.” They sold me. To read more about this cover and an earlier concept that didn’t make it through the approval process because it was considered too risqué, you’ll have to check out the online exclusive article.

Putting together this issue has been an incredible learning experience for me. Never again will I make a list that doesn’t include women … in fact, it may prove more diffcult for me to think of men. Just kidding, guys.