DESIGN

The walking stick boasts a rich history spanning millennia, originating in ancient civilizations and evolving into ornate symbols of status and fashion during the Middle Ages. Crafted from materials like wood, bamboo, and animal bones, they were adorned with intricate carvings and precious metals. Specialised designs emerged in the 18th and 19th centuries for various purposes, including hiking and ceremonial canes. The Victorian era saw a resurgence in decorative styles featuring exotic woods and lavish handles. In the 20th century, walking sticks evolved further with lightweight, durable designs tailored for medical aid, hiking, and fashion.

As demographic shifts redefine societal norms, the imperative to design walking sticks for older demographics looms large, with careful attention to material selection, ergonomic grips and safety features.

Yet beyond functionality lies a deeper ethos; a commitment to dignity and inclusivity.

ENEA Walking Stick prototype
Copyright Shiro Studio

In 2017, a seminal collaboration between London-based architecture and design firm, Shiro Studio, and engineering firm, Arup, yielded the groundbreaking ENEA Walking Stick prototype, a stunning testament to the marriage of form and function. Crafted under the discerning eye of Italian designer, Andrea Morgante, founder of Shiro Studio, the ENEA walking stick defied convention, challenging the stigma surrounding mobility aids with its sleek, 3D-printed silhouette. Despite its acclaim, the ENEA walking stick remains a prototype, its journey from concept to mass production truncated—a poignant reminder of the challenges inherent in reshaping perceptions and paradigms. Yet, in our conversation with Andrea, his vision remains unwavering: a testament to the enduring power of design as a catalyst for change.

As always, the design process began with a focus group. I wanted to establish a clear, direct connection between the user and the final design outcome. In this project, there was no room for capricious, selfish design gestures: everything had to be rational and pragmatic. ENEA aimed to address common shortfalls found in conventional walking sticks and provide an upgraded version full of innovative features. For example, it was important that the stick could stand upright on the floor or safely rest on various surfaces. The biggest challenge was including all these new features while delivering a visually desirable design object, almost a fashion accessory, not just a walking aid.

ENEA Walking Stick prototype
Copyright Shiro Studio

Were there any constraints when it came to the functional, material side of the design?

Lightness was a vital requirement from the very beginning, which is why I brought on board two very talented computational designers who contributed to developing the parametric internal cellular structure, mimicking bone tissue. This removed the need to use too much material, achieving lightness and uncompromised rigidity. Sometimes beauty lies within.

ENEA Walking Stick prototype
Copyright Shiro Studio

ENEA Walking Stick prototype
Copyright Shiro Studio

Why do you think the ENEA walking stick didn’t progress to the mass production stage?

That’s a very good question! The first client who understood the challenge and showed an interest in this project was a famous Italian design powerhouse. I explained to the owner that I could not understand why the design industry was obsessed with delivering hundreds of variations of a single typology like a chair or tray, while a walking stick, a functional, almost wearable design object, was not subject to the same treatment and attention. So on one side of this challenge was a saturated market and on the other was a neglected, incredible design opportunity. Eventually, even though we crafted a beautiful prototype, the Italian design company pulled out. I guess they were unwilling to take the risk and leave the familiar path.

For me, as a designer, this failure was hard to accept. I tried knocking on other design companies’ doors. I wanted ENEA to be produced and supplied by a design manufacturer, as it meant accessibility and inclusivity fused with contemporary design desirability. I also wanted the users to have the experience of purchasing from a cool, modern shop, not a sad, neon-lit medical store selling plain, miserable, obsolete walking sticks. Unfortunately, no joy. Maybe it was seen as too risky. The irony is, that since publishing this project, I still receive requests from people all over the world who would really like to buy one. The good news is that I have not given up yet!

If given the opportunity, what other products would you consider designing for older demographics, and why?

I have a few ideas and concepts on the drawing board, but I am not ready to share all the details yet. One of them involves visibility in urban environments: too often, the ageing population and people living with mobility issues are very fragile, nearly invisible, vulnerable subjects in a very chaotic, fast-moving and distracted crowd of people and vehicles.

On one of my trips to Japan, I remember seeing an elderly, very stylish couple preparing for a walk, dressed head-to-toe in luminous yellow hi-vis clothes. It was a striking sight but also signalled a tangible issue and a solution. Sometimes, even crossing a busy road on a marked surface with a green light could be an act that is not free of danger.

So, I am thinking of urban wearable accessories that couldinstantly increase the wearer’s visibility and presence, returning to a normal, unassuming garment when not needed. A metamorphic piece of clothing that could provide additional safety and visibility. Wouldn’t it be wonderful?

Editor’s note: At Triennale Milano during Milan Design Week (Salone del Mobile) 2024, Designer Keiji Takeuchi curated Walking Sticks & Canes—an exhibition that transcends the boundaries of tradition and expectation. Featuring the works of 18 international designers, including luminaries such as Alban Le Henry and Alberto Meda, the exhibition celebrated the rich tapestry of walking aids, exploring their evolution from humble beginnings to symbols of power and fashion. Sponsored by Japanese furniture company, Karimoku, the exhibition offered a glimpse into a future where walking sticks are not merely aids but expressions of identity and individuality. As we stride boldly into a future of an ageing yet active world, we strongly urge manufacturers across all industries, from fashion to furniture, to take the decisive action in producing and marketing contemporary, intelligent and multifunctional walking aids—a testament to the enduring power of design to elevate and inspire.