Are there just too many designers out there?
Every year, thousands of fresh faces enter the design world, but only a handful manage to land a job. Entry-level positions now attract hundreds of applicants, sparking a growing debate: has the creative industry produced more designers than it can realistically support?
Design journalist Cajsa Carlson raised this question in Dezeen’s Performance Review series. During the 2023/24 academic year alone, more than 180,000 students in the UK pursued degrees in design, creative arts, or performing arts—almost triple the number who enrolled in architecture, building, and planning programs. But as major brands tend to favor established names and recognizable portfolios, newcomers often face an uphill climb. Can the industry truly absorb this flood of talented graduates?
Too many applicants, too few jobs
Competition is brutal. Benjamin Hubert, founder of Layer, explained that when his design studio posts a vacancy—whether for a junior or senior role—they receive roughly 500 applications for just one or two openings. For small studios, this means hiring one person out of hundreds. And if independent firms face these odds, imagine how crowded the applicant list looks at global companies.
The catch-22 of going solo
Unable to find traditional roles, many emerging designers strike out on their own. A growing trend, known as collectible design, encourages creators to craft one-of-a-kind pieces, often exhibited at galleries with the hope of securing a buyer. But there’s a major problem—visibility.
Findlay MacDonald, co-founder of the design platform Slancha, noted that countless independent designers produce beautiful, hand-crafted items but struggle to get them in front of buyers. Established galleries prefer well-known names, leaving less experienced creators in a difficult loop: they need exposure to gain trust but need trust to achieve exposure. For collectible designers, it’s truly a catch-22.
There’s also the issue of cost. MacDonald’s collaborator, Harvey Everson, highlighted that freshly graduated designers rarely have the funds to produce large quantities of pieces. Making even one handcrafted item requires time, tools, and materials, all of which drive up the price. As a result, a single chair might retail for around £3,000—far from affordable for the average buyer.
Privilege and opportunity gaps
The struggle doesn’t stop there. Economic inequality also plays a major role. Designer Reianna Shakil, who graduated during the Covid pandemic, shared that many peers can’t secure work aligned with their skills. In her experience, individuals from more privileged backgrounds often have a head start—family support, workshops at home, or space to experiment—all of which help sustain early career development.
Jo Barnard, founder of Morrama, voiced a controversial view: “There are too many designers.” In her opinion, the issue stems from an oversupply of degree programs, many of which fail to maintain solid connections with the industry. Her viewpoint—though divisive—reflects a sentiment echoed by other professionals who believe academia isn’t adequately preparing students for real-world challenges.
The education gap
Benjamin Hubert agrees that universities need stronger links to the professional world. He insists that every design student should complete at least one internship before graduation. “Those with workplace experience are far more employable,” he said. They understand how studios operate and can transform abstract knowledge into concrete skills.
Barnard takes this further, suggesting that work experience should be mandatory for earning a degree. Too many students, she says, complete three-year courses without ever stepping foot in a professional environment. Meanwhile, Shakil believes that business education is another missing piece. “They never taught us how to actually run a studio,” she said. Out of necessity, she launched her own company, Studio ZRX, to carve out a path where jobs were unavailable.
Shifting what design means
Hubert also thinks the design world clings to outdated definitions of itself. The term “industrial designer” feels obsolete, he argues, given how modern designers must act more like entrepreneurs than traditional makers. The industry still operates as if stuck in the 1960s, lagging behind the realities of modern tools, technologies, and environmental demands.
Minnie Moll, CEO of the Design Council, doesn’t necessarily believe there are too many designers, but she does question whether the sector is doing enough to prepare and include young professionals. One of the biggest challenges today? Sustainability. A recent survey found that while 71% of designers recognized growing demand for eco-conscious design, only 43% felt they had the skills to meet that demand.
Beyond jobs: design as a mindset
Even with an oversaturated market, design education still holds value. Hubert argued that while the industry may be overcrowded, thinking like a designer transcends the profession itself. Learning to think laterally, problem-solve, and innovate are life skills that benefit many other fields.
Design historian Catharine Rossi agrees. Not every design graduate needs to become a practicing designer. Some find their strengths in writing, teaching, policy-making, or even public service, where design thinking shapes decisions and systems rather than physical products.
Moll adds that young people should still be encouraged to pursue design, not because it’s an easy career path, but because of its power to create change. “Do you want to shape the world?” she asks. “Design shapes the future.”
And this is where the debate heats up—if design truly shapes the world, shouldn’t we want as many designers as possible leading that change? Or does oversaturation risk suffocating creativity itself?
What do you think—are design schools empowering the next generation or flooding the industry beyond repair? Drop your thoughts below and join the discussion.
