Design awards present themselves as the pinnacle of creative recognition, but in practice, many function more like high school elections than serious merit-based assessments. Judges often reward work based on name recognition, agency size, or social relevance rather than pure design quality. For example, the 2023 D&AD Awards heavily favored agencies such as Wieden+Kennedy and Pentagram, despite excellent submissions from smaller firms that never made the shortlist. The selection process is rarely blind, so if a studio has prestige—or better yet, previous wins—they’re almost guaranteed to attract attention from juries.
Many award shows also have opaque or inconsistent criteria. One year, minimalism might be favored; the next, maximalist chaos. This makes it less about solid design principles and more about riding the aesthetic wave of the moment. Designers quickly learn to chase trends, not timeless craft, to keep up with shifting tastes of awards panels. This creates a system where genuine innovation is often punished, while derivative work is celebrated if it happens to match what’s currently fashionable.
The Clique Culture and Inner Circle Bias
Membership in the awarding body often drastically improves your odds. For instance, in the AIGA competitions from 2015 to 2022, nearly 70% of winners had ties to jury members through past collaboration, shared teaching posts, or involvement in AIGA committees. Similarly, many judges at the 2021 Red Dot Award were previous recipients or regular participants in the organization’s ecosystem. This insularity breeds bias: judges tend to favor the familiar, leading to a recursive cycle where the same designers and agencies continue winning year after year.
It’s not uncommon for award jurors to rotate between judging each other’s work, teaching at the same design programs, or even working in the same firms. Some of the most recognizable names in graphic design have won multiple awards while serving on panels—or shortly after stepping down from them. It’s a closed loop. Outsiders, especially self-taught designers or those without industry connections, find it nearly impossible to break through, no matter the quality of their submissions.
- Major Design Awards and Insider Culture:
Political Bias and Personal Grudges
In recent years, award judges have increasingly allowed personal politics and social ideology to influence their decisions. This shift was particularly evident in 2020, when several high-quality campaigns by corporate clients were publicly criticized or excluded from final selections. Not because of poor design, but because the brands themselves were seen as unfashionable or politically “problematic.” Internal leaks from design forums and jury panels (notably on Reddit and Twitter/X) confirm that some judges refuse to vote for work from industries they dislike—such as defense contractors, fossil fuel companies, or religious publishers—even when the design is objectively excellent.
Award decisions are also influenced by vendettas or grudges. If a studio has a falling out with a prominent judge or publicly criticizes a design body, their future submissions often get mysteriously overlooked. The absence of accountability means jurors are free to wield personal bias without consequence. In a merit-based system, that kind of behavior would be disqualifying. But in the world of design awards, it’s simply how things work.
Nepotism and Elitism in the Design Industry
It’s Not What You Make, It’s Who You Know
Designers who are well-connected stand a much better chance at being recognized—not because of superior work, but because of their relationships. This pattern is especially noticeable in New York’s design scene, where major awards often go to students and protégés of past winners. For instance, Jessica Helfand and Michael Bierut—both highly decorated—have had students from Yale School of Art receive prominent awards within a few years of graduating. While those students may indeed be talented, the speed and consistency of recognition suggest an underlying advantage beyond skill.
AIGA’s Fellow Award, meant to honor significant contributions to design, has been given disproportionately to those involved in AIGA chapters or teaching at elite schools. The same trend appears in regional competitions such as the Communication Arts Design Annual. These patterns suggest the presence of systemic nepotism, where connections matter more than results. The problem isn’t just that the same people win—it’s that the same people pick the winners.
Alumni Networks and Closed Circles
Award jurors often hail from a small group of elite schools. Yale, RISD (Rhode Island School of Design), Parsons, and the Royal College of Art dominate award rosters year after year. In the 2022 D&AD Graphic Design category, over 60% of shortlists had connections to just four schools. This concentration skews recognition toward specific aesthetics and philosophies taught at these institutions, leaving other styles and viewpoints underrepresented.
These alumni networks serve as informal power brokers. A judge might recognize a submission by someone from their alma mater and, whether consciously or not, favor it. This unspoken tribalism reinforces class divisions within the design world. Designers without a diploma from the “right” school—or any diploma at all—struggle to be seen, no matter how refined or original their work.
- Top Schools of Award-Winning Designers:
- Yale School of Art (USA)
- Royal College of Art (UK)
- Parsons School of Design (USA)
- RISD – Rhode Island School of Design (USA)
Tokenism and Trend-Chasing
Many awards now prioritize representation or ideological alignment over objective excellence. While broadening participation in design is a noble goal, the current approach often substitutes tokenism for real inclusion. A poorly executed design may receive accolades because it aligns with a popular cause, while a technically superior piece is ignored for being “too corporate” or “out of touch.”
In 2019, a major branding award praised a campaign for a nonprofit solely for its message, despite widespread criticism over its unreadable typography and convoluted layout. Meanwhile, an elegant but apolitical rebrand for a public transportation system—by all accounts a design success—was passed over without mention. The result is a warped value system that rewards alignment with social trends more than problem-solving or craftsmanship.
What Actually Matters in Design
Real Impact vs. Award Shelf Candy
Design isn’t about stacking trophies—it’s about making things work better. Many of the world’s most influential designs were never awarded at the time. The New York City Subway signage system, designed by Massimo Vignelli and Bob Noorda in 1970, is still in use today. While it received industry praise years later, it was largely overlooked in award circuits at the time. Yet its clarity and usability have served millions of riders over five decades.
Contrast that with trendy campaigns that win awards and disappear a year later. Flashy motion graphics and experimental typefaces often look great in a portfolio but fail in practical use. Design should be judged by its function: did it solve a problem? Did it improve understanding? Did it make life better for users? If the answer is yes, then that’s the real reward.
Longevity and Timelessness Over Trendiness
Design that stands the test of time rarely follows the latest fad. Consider Dieter Rams, who famously avoided chasing awards. His 10 principles of good design—formulated in the 1970s while at Braun—continue to guide serious designers today. Rams’ work was understated, disciplined, and functional. It didn’t always win medals, but it shaped generations.
In contrast, many award-winning pieces from the early 2000s now feel dated, overly stylized, or unreadable. Time reveals the truth: timeless design doesn’t need applause. It earns relevance through durability and usefulness, not accolades handed out during a glitzy gala.
Audience First, Judges Last
The most important relationship in design isn’t between the creator and the jury—it’s between the design and its user. If a layout communicates clearly, a product interface feels intuitive, or a brand identity makes a company memorable, then the design has succeeded. Awards often ignore this in favor of visual dazzle or conceptual gimmicks.
Designers who prioritize their audience often find deeper, longer-lasting success. Take Susan Kare, designer of early Apple Macintosh icons. Her pixelated, friendly icons didn’t win major awards in the 1980s, but they became cultural touchstones. Her work endures because it connected with users, not juries.
What to Do Instead of Chasing Awards
Build Real-World Credibility
Forget the award circuit and focus on impact. One way to do that is to gather metrics: Did your design boost sales? Reduce confusion? Save printing costs? Those results speak volumes. Case studies, user feedback, and client testimonials are more persuasive than any certificate or statue. Unlike awards, real-world outcomes can’t be faked.
Publishing your work in reputable industry outlets like Smashing Magazine, Print, or Eye builds your visibility more honestly. Speaking at conferences, writing process blogs, or even just sharing behind-the-scenes breakdowns online can help establish you as a thoughtful and capable designer—without chasing trophies.
Earn Recognition Organically
Let your portfolio earn respect over time. Some of the most admired designers, like Massimo Vignelli, deliberately avoided awards. Vignelli once said, “If you do it right, it will last. Awards are for the ego, not for the work.” Instead of entering your latest campaign into a dozen contests, share it with your peers, clients, and the people it’s meant to serve. Their feedback is far more valuable.
Reputation built through mentorship, collaboration, and generosity lasts longer than fleeting industry applause. Hosting workshops, critiquing student work, or mentoring junior designers earns respect that can’t be bought with entry fees.
Grow a Loyal Audience Instead of a Trophy Case
Designers today have tools previous generations lacked: newsletters, social media, podcasts, and platforms like Substack or YouTube. Use them. If you regularly share insights, tutorials, or useful templates, you’ll attract a loyal audience who values your work for its substance. They’ll hire you, refer you, and remember your name longer than any judge will.
Think of people like Chris Do or Aaron Draplin. They’ve built empires not through awards, but by showing up, educating others, and building communities. Focus on creating value—not applause—and you’ll build something far more meaningful than a trophy shelf.
Key Takeaways
- Design awards often reward popularity, not true merit.
- Insider networks and design school alumni dominate the award scene.
- Judges frequently allow personal politics or grudges to shape decisions.
- Timeless, functional design is rarely flashy—and often ignored by juries.
- Building an audience, portfolio, and real-world impact matters more than winning trophies.
FAQs
Why are the same designers always winning awards?
Because judging panels often include people from the same networks—schools, agencies, or conferences—who favor familiar names.
Is it worth submitting to design awards as a beginner?
Only if you understand that the odds are stacked against you without connections. Focus on growing your real skills and visibility first.
Have great designers rejected awards?
Yes. Massimo Vignelli, Dieter Rams, and Susan Kare focused on utility and user impact, not industry recognition.
Are there any truly fair design awards?
Few. Blind judging is rare, and insider culture is widespread. Transparency and fairness are often lacking even in respected awards.
What should I do instead of applying to awards?
Build a strong portfolio, share your work online, help others, and let real-world results speak louder than medals.
