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Deloitte Digital Appoints Megan Fath as Its US Chief Design Officer

24/10/2022
Creative Consultancy
New York, USA
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Before Deloitte, Megan worked with various creative agencies, startups, and Fortune 500 companies

Deloitte Digital has appointed Megan Fath as its US chief design officer.

As US chief design officer (CDO) for Deloitte Digital, Megan Fath is an empathetic design leader who champions the role of design in solving the most complex business challenges. She emboldens clients to launch innovative experiences and businesses by always putting humans at the centre.

Megan is a managing director at Deloitte Consulting LLP and the US chief design officer of Deloitte Digital. She is passionate about human-centred approaches to business transformation, using creativity and design thinking to surface new growth opportunities and improve adoption of technologies and processes. She works alongside many of the world’s most creative thinkers and makers to elevate the role of design while encouraging deep collaboration across typical organisation silos (particularly technology platforms, business strategy, marketing, and human capital).

Recognising that people are essential to every successful transformation, Megan continues to mentor and inspire Deloitte’s rising design talent. She has spent a large part of her career mentoring designers as an adjunct faculty at two leading graduate programs for innovation and design. Now, she seeks to forge career paths for the next generation of design leaders within Deloitte and within the C-Suite across the businesses we serve. Prior to serving as CDO, Megan led many of our most ambitious and strategic design programs during her 10 years on the Customer Strategy and Applied Design team.

Before Deloitte, Megan worked with various creative agencies, startups, and Fortune 500 companies. Her work has been published in books and industry publications, including the Huffington Post, AIGA, the Wall Street Journal, and Adweek. She routinely champions design and elevating the human experience on panels and stages, but she still crushes on a serif font, a seven-column grid, and even the occasional design critique.

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