The year of Parklife, Blur's breakthrough album.
A wave of pop artists craving the credibility of the Brit prefix found themselves following Damon Albarn's troupe, both musically and geographically, to 
Salem Road in Queensway, where Stylorouge were about to decamp to swish new studios. Among the tenants in the new premises were Major Minor Artist Management, Web specialists Motion Pixels, Illustrator Rian Hughes, Events organizers Mozaic and Exhibition curators Exhibit-A. Apart from enjoying the opportunity to work among friends this represented perfect business-to-business
potential.
Fortunately by
this time Mick Harris had joined Stylorouge to try and make some sense of the managerial complications. Highlights of the year included designs for Pretenders,
The Jesus Mary Chain
Sometimes Always
Poster
Echobelly
On
Album cover
Dusty Springfield
A Very Fine Love
Album cover Pretenders
Last of the Independents
Album Cover
Placido Domingo, Echobelly, Penguin Cafe Orchestra, Jesus & Mary Chain and the chance to work with one of Rob O'Connor's musical heroines, Dusty Springfield on her last studio album project.
Other jobs included sleeves for BeeGees, Nigel Kennedy and BBM (Baker, Bruce and Moore – the would-be Cream reunion minus
a certain Mr Clapton). Female vocalist projects spanned from Stina Nordenstam to Doris Day.
Venturing into retail design, Stylorouge were commissioned by Fenwick to produce promotional material for their store promotions.
At this point Stylorouge's client list had expanded dramatically, but they still found themselves specializing in the music and film industries. On moving to their new home, Direction magazine published a comprehensive overview of the company's work and history. The vibrant team at this stage included a number of new faces, some of whom would be long servants of the company. Andy Huckle, Richard Bull, Romaine Campbell, Mark Blamire and Carl Rush had all joined following Julia Hormbrey's departure to work for BMG in France. T&CP still kept a roster of their own clients, although some of them were also clients of both companies. It would be inevitable that before long Stylorouge would effectively absorb T&CP (except on special occasions when the credit still makes an odd appearance on the occ
asional design where it's appropriate!) For the time being though, T&CP remained busy; Mute Records, who had supported them over several years commissioned a corporate identity for their sub-brand Mute Bank which in effect was a new promotion of the label's history involving the design of Mute's first ever catalogue.
By 1994 the Mercury Music Prize was well established, being in its third year. An art award was added to find a painting for the marketing campaign which would also become the sleeve for the compilation album. Rob O'Connor was invited to be one of three judges along with Peter Blake and Brian Eno.