Cover Anti-design is experiencing a notable resurgence, driven by popular brands and artists such as Charli XCX
Anti-design is experiencing a notable resurgence, driven by popular brands and artists such as Charli XCX
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Emerging from an art movement of the 1960s, anti-design is enjoying a renewed spotlight thanks to its embrace by renowned brands and artists.
In 2024, the anti-design aesthetic made a striking return, notably through two standout music releases by the gifted singers Chappell Roan and Charli XCX. The lyric video for Good Luck, Babe! and the cover artwork for the album Brat serve as bold illustrations of this style, marked by defiance, individuality and a rejection of convention. In Vietnam, tlinh adopted the look in the teaser for her album Ai.
Of course, anti-design is far from a new concept. Originating in 1960s Italy, it began as a response to the sterile and uninspired design principles of the time, as well as a critique of the growing culture of consumerism. After lying dormant for decades, the movement is now enjoying an enthusiastic revival and gaining traction like never before.
The origins of anti-design: A rebellion against traditional design norms
The term “anti-design” first surfaced in the early 1920s in New Kind of Printing Calls for New Design by William Addison Dwiggins. In the book, he used the phrase to describe his unconventional approach to image layout and typeface combinations. At its core, anti-design can be seen as daring and subversive, yet it still respects certain underlying principles.
Since those early days, anti-design has evolved into one of the most influential movements in the trajectory of graphic design. It has long served as a visual manifesto reflecting perspectives on politics, social change, and technology. Over time, the movement has stood as both a challenge to traditional design norms and an expression of the freedom to explore identity and individuality through creative work.
Above Chappell Roan—Good Luck, Babe! (Official Lyric Video)
Anti-design lends itself to a wide range of formats and has long been shaped by the spirit of popular culture. In the US during the 1990s and early 2000s, the rise of dance pop, rave and trance music left a distinct imprint on graphic design. Neon hues, off-kilter typography, surreal compositions and fantastical imagery all came to define the visual tone of that era.
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With the rise of the internet and social media, anti-design has not faded into obscurity. On the contrary, it has become more visible. Since 2020, when COVID-19 prompted global lockdowns and isolation, many turned to the digital realm as a means of coping with the pressures of daily life. In that context, anti-design re-emerged as a creative outlet, a rejection of rigid perfectionism, and a celebration of raw, unfiltered identity. These designs resonate by offering a sense of authenticity and closeness in an increasingly curated world.
In addition, as polished, visually pleasing designs begin to feel oversaturated in the digital age, anti-design offers a striking alternative that cuts through the noise and demands attention. The Brat album cover swiftly became a talking point after its release on social media. Soon after, Kamala Harris, the US presidential hopeful, adopted a similar design for her campaign materials, aiming to resonate more closely with the public.
What drives brands and artists to embrace anti-design?
As the focus shifts from Gen X (1965–1980) and Gen Y (1981–1996) to Gen Z (1997–2012), brands and public figures have found it increasingly difficult to forge meaningful connections with this younger audience. While Gen X and Gen Y tend to approach change with caution, Gen Z is known for its adaptability and appetite for the unexpected. That said, Gen Z is frequently reduced to a stereotype, viewed as erratic or disorganised. Creative Blog’s Shifting States report reveals that many brands misread Gen Z’s essence, overlooking their adaptability and misjudging their preferences, which leads to misguided, costly campaigns.
Anti-design, then, emerges as a natural fit for reaching this demographic that values originality and impact but also seeks sincerity. In a digital space now saturated with AI-generated visuals, a brand’s use of anti-design makes a clear statement: it supports human creativity over polished, lifeless perfection produced by machines.
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In recent years, a growing number of brands have turned to anti-design to re-energise their image. Adidas, for example, launched a dedicated website in this style to promote its Yung-1 Alpine Sneakers. Other brands have applied anti-design principles to their social media posts, catching the eye with unexpected visuals and offbeat compositions.
For artists, too, anti-design provides a powerful vehicle for self-expression. In Charli XCX’s case, Brat marked not only a new chapter in her musical journey, but also gave voice to a free-spirited, confident and gently subversive persona. The album stands as a reminder that the pursuit of perfection is both exhausting and futile. This honest message has resonated widely, extending its reach beyond Gen Z.
Looking ahead, anti-design may shed its identity as a movement and settle into a role as a distinct and personal design language. Its popularity also raises deeper questions: should beauty be defined by society, or can it be shaped by the individual? For brands and artists alike, anti-design offers a rare chance to connect authentically with their audience at a time when creativity itself often feels under scrutiny.
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