The empty studio opposite the mews becomes too much of a temptation, and when the opportunity arises,
Stylorouge make the move across, with long-term collaborator, music specialist photographer Simon Fowler sharing the rent responsibility. Creating something of a one-stop shop the new studio thrives as a string of projects involve both Simon and Stylorouge: Picnic At The Whitehouse, Paul Young, Latin Quarter, Salvation Sunday, Latin Quarter, Paul Carrack, Masters Of Ceremony, Johnny Hates Jazz, Owen Paul...Spear Of Destiny sign to Virgin's 10 Records, spawning an illustration-based series of sleeves and George Michael reacquaints himself with Stylorouge to produce the album campaign for his first solo album Faith. Creators of chilled synth-pop and classic pop covers specialists (It's My Party and I'm In A Different World), Dave Stewart & Barbara Gaskin produced a mellow commercial classic album, The Big Idea, and within the constraints of a limited budget Stylorouge rustled up a sizeable idea of their own for the cover, with commissoned photography by Geoff Brightling. Pop singer Saeko Suzuki becomes the first Japanese artiste to ask Stylorouge to art direct a visual album campaign. Paul Young's album Other Voices sees Stylorouge on a Californian desert trek with photographic siblings the Douglas Brothers and to a Covent Garden swimming pool with Alison Moyet and eccentric snapper Richard Haughton. Folk/Rock/Goth/hippy band All About Eve start to make waves as Stylorouge start to make their record sleeves. This would be the start of a long journey together - from the first single for Phonogram, In The Clouds up to the album Scarlet And Other Stories. Stylorouge also start designing for sex-symbol actress/celebrity wife Patsy Kensit, who finds herself fronting her brother's band Eighth Wonder. When The Phone Starts To Ring is the single that gets people talking, but it will be the Pet Shop Boys-produced I'm Not Scared that will provide their biggest Hit. Queen's Roger Taylor got busy with his own band this year, The Cross, and Orchestral Manoeuvres In The Dark get Stylorouge to package their Best Of album. Tina Turner was still keeping the studio busy, in particular with a campaign for a major tour, and her manager, the charmingly ebullient Roger Davies put Stylorouge together with two of his other acts in '88, namely the beautiful American Lisa Dalbello and his fellow Australian James Reyne. Whilst in Tina Turner mode, one of her former backing vocalists had just been signed by PolyGram; the glamorous Judy Cheeks got the guided tour of the south Kent coast in the name of art. Her album sleeve shots were taken on the beach in the shadow of Dungeness Power Station, where the only disadvantage is having to avoid all the other photographic and film crews cluttering the landscape (this is not too far from the truth...) The brightest young thing among the many this year was Terence Trent D'Arby, who Stylorouge met through their management friends Luna Park in Berlin, and before he was touted around the UK A&R cognoscenti, a visual campaign was hatched, and the eventual highest bidders, CBS in turn commissioned Stylorouge to design his debut sleeves. Japanese heavy rock band Vow Wow entered a European phase of their career, firstly by finding the English manager John Pearson, then recruiting Scottish bass player Neil Murray, and finally by appointing Stylorouge to design their new logo and packaging. Also in the rock department are Ian Gillan and Roger Glover, formerly of the pioneers Deep Purple, and at this point fashioning more commercial fare under the name Purple People Eaters. Fortunately they came to their senses and just before release reverted to the more corporate sounding Gillan/Glover.
(Their logo would be mistaken for that of a firm of accountants for some years to come). Super-sweet pop duo Dollar made a comeback that involved design by Stylorouge, as did the Kinks, who it could be argued have never been away. Hot Chocolate frontman Erroll Brown launched a successful solo career with East West Records, and the cover for his first single involved an elaborate screenprinting job engineered between Stylorouge and their screenprinter Karl Scholes. The company's relationship with Maxi Priest was just about to open a door (figuratively speaking), as an invitation to co-direct a promo for Maxi's forthcoming single was gratefully accepted by Rob O'Connor. Some Guys Have All The Luck would be directed by Rob and Tim Broad, and produced by Techniques Of Persuasion. The track was a hit and happily the video exercise was repeated on the follow-up How Can We Ease The Pain. Film and video advertising projects undertaken this year included Hamburger Hill, The Stepfather, Desert Bloom and video packaging for the Joe Orton bio-pic Prick Up Your Ears. The press campaign for Squeeze's Babylon And On album won Stylorouge a consumer advertising award from Music Week. For the previous couple of years they had managed image manipulation using traditional retouching handskills or out-of-house on over-priced Scitex or Quantel systems, but this is the year that the computer arrived at Stylorouge: just the one, Macintosh ll, loaded with Quark Xpress and Photoshop. Installed and up-and-running by 5pm, Photoshop had used up all the available memory by 8.30pm the same day... boy it was early days for creative technology.