Reported by Yorgo Tloupas, 2 December 2013, 17:25 PM
In May 2012 I was invited by W hotels to do a performance at the opening of their Paris branch. I decided to create a Y-based pattern, which I used to cover the walls and furniture, then I printed the pattern on a suit. On the night of the launch I invited guests to pose with my camouflaged self. A year and a half later, another W (the Magazine), just did something very similar… I honestly think it’s a coincidence, but worthy of a reminder.
Yorgo (which is Greek for George by the way) 2012:
Of course I know that Yayoi Kusama has been playing with patterns for years, but with the B&W treatment and the strikingly hot leading man looks, it all of a sudden feels familiar:
Reported by Yorgo Tloupas, 16 November 2013, 11:09 AM
I tend to go see movies way after they’ve come out, so I can get an empty theater for a major blockbuster, and a quiet screening. With cars, usually I get to drive them before they even reach the market, on press trips. But sometimes I completely miss the opportunities to get behind the wheel in advance, and the car becomes a common sight on the roads before I can test it, and progressively I get less of a desire to try it out. But when the opportunity comes, the pleasure is akin to seeing a film almost by myself, after everyone’s seen it and talked about it. The Audi R8 came out in 2006, and last week I finally got to borrow one for a short road trip. We had the 2014 R8 Spyder with the V8 engine, featuring the new S Tronic Dual-Clutch transmission, and we took it from Paris to Brittany and back, through rainstorms, sunny spells, and country roads where the speed cameras had been torched the week before by locals, angry at the government. I’ve always been a huge fan of the R8′s design, low, short, mean and futuristic, with none of the pseudo-sexy curvaceousness of other sports cars. Just efficient German engineering, with a touch of mischievousness (the rear window goes down to let you hear the engine roar, amplified when the sport button is pressed). In Spyder guise the car looks a bit front-heavy, depending on the angle, but once the roof is down the proportions are just right.
We visited Plurien, a village with a name that basically means “nothing left”:
My girlfriend called our car “Punaise Puissante”, a.k.a. Powerful Bug. Quite fitting:
Then we stayed in a strange-looking hotel, a mix between North African and Russian architecture, stuck on top of a block looking like a 70′s motel in beige and khaki:
Nice wheels, with a grey that worked perfectly with the body paint:
We met a kid who was a huge fan, with more knowledge about the car than me:
And the most innovative feature of the car in my opinion is clearly its “Knight Rider” rear indicators:
Reported by Yorgo Tloupas, 14 November 2013, 08:49 AM
On Monday the 18th of November 2013, the Parisian auction house Piasa will host a sale of some of Philolaos‘ work. My late dad’s work will be shown from the 15th to the 18th in a beautiful set designed by Noé Duchaufour Lawrance.
The invites and catalog are beautiful, as are all the communication elements usually published by Piasa, and we’re looking forward to Friday’s opening!
A few nices images also on Mondoblogo.
Reported by Yorgo Tloupas, 12 November 2013, 15:49 PM
My friend, Black Crows colleague (he designs the shape of our skis), and freestyle skiing legend Julien Regnier just released a video of a fun run he shaped and rode with his friend Kevin Rolland (a legend himself also – to watch closely at the next Olympics):
Reported by Yorgo Tloupas, 9 August 2013, 08:21 AM
If I haven’t posted for a while, I have a good excuse… For the last 2 years I’ve been working on the launch of the French edition of Vanity Fair. After four (!) dummy issues, we finally put our first real magazines out. As the art director my main role is to re-interpret a legendary and centenary publication, and I can now confirm that it’s a way harder task than creating a magazine from scratch. What do you keep from the American version, what do you change, what do you add? With my deputy Art Director Genève Doherty we did a lot of research on this…
To start with I designed a new sans-serif font, called Vanité, which got finalized and developed by expert typographer Jean-Baptiste Levée. It’s inspired by a typeface I found on the cover of a 1916 issue of Vanity Fair, and has a wide range of letter alternates:
Then we designed section openers, with intricate details in the treatment of shadows:
Then I designed a small icon to identify the French version, VFF in short:
Of course we’re also trying to produce striking photography, such as this portrait of Christian Lacroix wearing Man Ray glasses and holding a pipe-shaped Schiaparelli perfume bottle, by Markus Jans:
The layout is sometimes very dense and full of details:
And we produced a whole bunch of extra objects, from a set of glass holders for our launch party at Le Flore:
To a candle produced for us by Astier De Villatte, with an exclusive scent:
To art-deco-looking magazine displays:
A USB key:
And much much more, to follow soon…