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Creatively,
the highlight of the first year was O'Connor's ongoing collaboration with
Siouxsie Sioux. A splinter group called The Creatures (featuring
Siouxsie and her drummer/boyfriend Budgie) had been formed and required a
visual identity that set them apart from the original Banshees.
For their first Wild Things EP,
O'Connor took up a suggestion from Siouxsie to develop a vaguely
pornographic piece of illustrated mail from one of their more deviant
fans. While The Creatures were on tour in Newcastle, a photo shoot
was duly arranged in a cramped hotel bathroom. Adrian Boot took the
photographs while O'Connor directed both the photos and the shower
head. The resulting metallic black-and-white cover images, combined
with the large, uncompromising sans type set on the vertical, still
conveys a compelling seediness and sense of claustrophobia.
Conceiving and executing such appropriate imagery was to become the
guiding principle of Stylorouge.
For a designer, there's a major
difference between working for a client that produces paper clips or dog
food, and an artist who creates music. Or a film maker, novelist, or
choreographer for that matter. In effect, your efforts become a
representation of their creative endeavour and, on a more practical level,
you need to learn how to deal with 'products' that live and breathe, have
their own opinions and often answer back.
Around three-quarters of
Stylorouge's design output is commissioned by the music industry, so the
dilemma of satisfying client, artist and end-user crops up on a daily
basis. In addition, the work must fulfil the designer's personal
standards. No tow jobs are alike. Debut singles need to be approached
differently from fifth albums. An artist may be changing direction
and want this reflected in his or her visual persona. The record
label may want to appeal to a specific market sector. The band could
be on the other side of the world on tour and unavailable for
photography. And so it goes on.
Rob O'Connor |
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