iGDA panel of judges/jury

Katja M. Becker


Professor of Media and Interface Design at Westfälische Hochschule. She teaches design research, design management and UX design and is director of beau bureau design (Cologne), a studio focusing on corporate design. Katja’s main interests are social design and innovation processes. She co-edited the book Young German Design –Young German Design – Fresh Ideas in Graphic Design (2009) and was a Professor and Central Representative for Gender Equality at Hochschule Hamm-Lippstadt, a visiting lecturer at Jade Hochschule and Mid Sweden University.


Prof. em. Dr. Uta Brandes


  • co-founder and co-owner of „be design“
  • until summer 2015 tenure professor  of Gender & Design at  the Köln International School of Design, Technical University Cologne. (As far as we know, Uta’s chair was the first in the world to be explicitly and officially dedicated to Gender & Design.)
  • she is a frequent lecturer at universities in Germany, Japan, Hong Kong, China, Taiwan, Korea, Australia and the USA.
  • author and editor of numerous publications; the most recent one being Gender Design –  Streifzüge zwischen Theorie und Empirie (Gender Design – Rambles between Theory and Research)Earlier job roles included: Research Assistant at the University of Hanover; Deputy Director of a Hanover-based institute for women’s studies; head of a ministerial department for Gender & Equality in Wiesbaden; development of the Swiss Design Center in Langenthal and Director of the ‚Forum‘ of the Art and Exhibition Hall of the Federal Republic of Germany, Bonn.

Florian Conradi


Florian is a lecturer and researcher at the Design Research Lab at the Berlin University of the Arts, where he is also writing his doctorate. He studied communication design at the University of Applied Sciences Mainz, and at the Art Department of the Bezalel Academy of Art and Design in Jerusalem. He went on to complete an M.F.A. in Design at the Sandberg Institute (Gerrit Rietveld Academie) in Amsterdam, and an M.A. in integrated design at the Köln International School of Design in Cologne. Since 2008 he has been initiating sociopolitical design projects with institutions in the field of critical media and political advocacy, carrying out field research in Europe, as well as in Israel, Palestine and northern Uganda. He has taught critical approaches to design and design methods at the FH Mainz, the Köln International School of Design, and the UdK Berlin. His works have been published and exhibited internationally, amongst other places in Amsterdam, Gothenburg, New York, Hong Kong and Tokyo.


Tanja Godlewsky


Tanja graduated in design from the Köln International School of Design (KISD). Taking on board the school’s interdisciplinary approach to design education, she has consistently pursued a multi-facetted design career, including graphic design, multi-media production (from styling, set design, casting, location scouting to final production for photo, film, and video projects), and PR for several record labels.

In 2000, she set up her own design agency and has since won several design awards.

In addition to gender issues in design, her work is focused on the interfaces of design and music.

Since 2006, Tanja has also been a teacher and visiting professor.

Recent publications:

(Contribution in:) Michael Erlhoff & Christina Moritz (eds.): Design studiert. Perspektiven nach dem Studium, KISDedition 2013.


Claudia Herling


Claudia Herling, Director of the Digitale Frische design studio (Cologne) and a Visiting Lecturer in Design at the Aachen University of Applied Sciences and the Cologne University of Applied Sciences. With her studio, she focuses on graphic design, web design and illustration. She is also a freelance translator and author (index logo, 2005 and 2008; index illustration 2009, mitp) and Vice Chair of iGDN e.V. Germany. Claudia graduated in design from the Köln International School of Design (KISD). Head of Jury.


Jury Decision


The winners of the iGDA 2018 awards, which are presented by the international Gender Design Network/iGDA, have been selected: the iGDA Evolution (overall company concept) goes to Aesop, a company founded in Australia and operating worldwide. Made by internationally renowned journalists and designers, the A Women’s Thing magazine receives the iGDA Revolution Award (product or campaign). Presented for the first time this year, the new iGDA Volition Award for young design talent goes to notamuse. The awards ceremony will take place on 8 November 2018 at the Cologne Museum of Applied Arts.

Explaining its decision to give the iGDA Evolution 2018 to Aesop, the jury states:

“Aesop sells its own body care products in shops whose design is impressive from both gender-sensitive and architectural perspectives. Additionally, in a subtle and superbly designed way, the Aesop website provides a whole horizon of political, cultural and literary ‘specials’ that go far beyond the products themselves. An exceptional example of a company bringing together gender, culture and social commitment in an outstanding overall design approach that is both respectful and sensitive – and also very successful.“


The iGDA Revolution 2018 goes to A Women’s Thing, a US magazine, edited, made and designed by renowned journalists and designers and published in both digital and print versions. The jury was instantly convinced by the carefully curated stories and artwork, the surprising and provocative gender topics, the innovative perspectives, as well as by the excellently designed gender-sensitive illustrations and images. The magazine’s expressive and evocative design is an alternative to the norm, proposing a poetic and powerful revolution.



Presented for the first time this year, the young talent award iGDA Volition goes to notamuse, an MA graduation project conceived and designed by Silva Baum, Claudia Scheer and Lea Sievertsen (Hamburg University of Applied Sciences/HAW). Says the jury: “The award winners respond to the very much male-dominated design discourse by presenting an excellently designed publication that provides the hitherto missing female perspective. They thus impressively communicate women in graphic design as self-confident actors.”




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