Match maker: Yorgo & Co’s newest endeavour is a happy marriage of digital and print

Match maker: Yorgo & Co’s newest endeavour is a happy marriage of digital and print

In the 20 years since starting his studio, art director and designer Yorgo Tloupas has never had a website to showcase his work. It’s an admission that come as a shock to today’s increasingly digitally devoted creative community, but the explanation behind Tloupas’ lack of online presence was simple. ‘I basically couldn’t find the time in all those years, as projects kept on coming,’ the designer explains, also adding how, business-wise, he didn’t think it was necessary to have a digital display of his work.

‘I’ve always had my design work visible through the magazines I’ve art directed [GQ France, Libération, Vanity Fair France], or the ones I started [car magazine Intersection].’ Things are set to change this month at Yorgo & Co, with the launch of a new website showcasing the studio’s many creative highs. He says, ‘The website serves as a comprehensive archive, from my early work to all the interviews I’ve given, via countless small projects, hidden in the clients section.’

Yorgo & Co created the visual identity for Le Ballon, a pop-up bar launched during the 2014 FIFA World Cup

These include Tloupas’ Wallpaper* Handmade project – a flask designed in collaboration with Martell (he’s also responsible for the French cognac brand’s visual identity) – as well as the branding for ski label Black Crows, and collateral projects for Parisian concept store Colette. Throughout his two decades in business, Tloupas has collaborated with the creative industry’s most notable names, from Ramdane Touhami to Noé Duchaufour-Lawrance, and worked across fashion, design and hospitality.

Tloupas isn’t completely abandoning his preference for analogue, however, as the domain will be accompanied by a publication that replicates the website’s imprint. ‘It could be said that all of this was just a pretext to launch another magazine, titled Publication,’ he quips. Publication will also explore new printing techniques, with a perforated plastic cover, playing with the codes of the Op Art movement, a recurring visual reference in the studio’s work. ‘Ironically, as I’ve always avoided web-only projects,’ concludes Tloupas: ‘I couldn’t help but to print something to celebrate this digital achievement!’

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