Stavros Bilionis is a dynamic designer with a vibrant journey through the world of design. After studying Visual Communication at Vakalo College and earning a Master’s in Graphic Design from the London College of Communication, he honed his skills in top studios like Hato and Company in London, and G Design Studio in Athens. In 2020, he co-founded Ogust with Ifigenia Vassiliou, where they bring stories to life through innovative narrative branding.
What led you into design?
I don’t come from a design-savvy background. I wasn’t exposed to “good” or “tasteful” design when I was growing up. Therefore, I didn’t know what design was until I stumbled upon it in a book with some design texts someone gave me. I was led into design through the theory of the field, and then I discovered the rest. It’s a personal journey and still is. Human ingenuity is vast. Its place has a unique approach to it. Design was a whole new world for me.
What product or project have you recently seen that made you think, “This is great design”?
Every day amazes me, but recently I stumbled upon the concept of the “Big Book Look” by master designer Paul Bacon. You are probably familiar with his book covers, as his aesthetic seems to encapsulate and crystallize an entire era.
In your opinion, what is the fundamental purpose of design?
To make life easier to navigate. To educate aesthetically. To elevate our surroundings. To sell, to add value or status. To make the inaccessible accessible. To propagate. To inform. To dress up. To differentiate. To reveal. Design is all sorts of things. It’s a great tool.
How would you define your design philosophy? Could you describe the ‘Ogust’ aesthetic?
Design philosophy is for historians and critics. We are working designers with ideas—some good, some bad. Design has a temporal quality to it. Design is woven into the fabric of the society upon which it exists. Design is fleeting and fluctuating. Sometimes, a form or shape overcomes the time barrier and achieves timeless quality, but this only happens naturally; it cannot be forced. At Ogust, we believe in the unexpected. We believe in all things that shouldn’t be there.
Can you share a project that you’re particularly proud of?
We are proud of all of our projects and the people we work with and for. Recently, we are really happy with the result of our work for Gallina, a new restaurant in Athens. Several people worked on this project, all under a very trusting client with a vision, P. Tsangrides.
Athens is a city rich in history and culture. How does the essence of Athens influence your work?
Athens is the tapestry upon which we work. Our design reflects that. Athens is gritty and ugly and sunny and classical, Ottoman, Roman, and modernist. As designers, we embody all of those things, which differentiates us from Nordic or other Mediterranean designers. Athens, Greek culture, and folklore should be the only past we tap into.
Where do you see the line between art and design?
I see a very clear line. Art, for me, is about the sheer act of expressing—the sole enjoyment of form, color, vibration. It’s a festival of the senses. Design, on the other hand, has a purpose. It can be aesthetically pleasing, but in principle, there’s a function to it, a message, and a narrative.
Do you see AI as a source of inspiration or a tool for execution in your creative process? How do you balance its use to maintain originality and authenticity?
We don’t currently use AI as a source of inspiration, but we are open to that. We have incorporated AI into our daily life, but more for organizational purposes. AI is a brave new world, and we should all learn how to benefit from it. Authenticity is more like honesty to us.
What are your thoughts on minimalism in design? Do you believe in the idea that “less is more,” or do you find value in complexity and detail within your designs?
I used to believe in minimalism, and I’m using the word “believe” on purpose. Minimalism is a belief. I don’t subscribe to it anymore. I switched to the other team:
“More is more.”
Life on earth is so full—full of colors, textures, narratives. Life is confusing and intricate. In this context, minimalism seems a bit totalitarian to me. I cannot say I don’t enjoy pure form or pure color; I do very much. But I was taught to embrace complexity, noise, and chaos.
As a young and dynamic company, what unique perspectives and approaches does Ogust Athens bring to the table?
This is the million-dollar question: What’s our unique point of view? I think we feel free to explore, discover, and adjust. There isn’t a specific design method that we follow. All of us at Ogust are typically trained—we know typography, composition, etc. We have mastered the tools and the rules, and now we feel free to explore, overcome, and shift the rules. We like to think that we put elements here and there that weren’t supposed to be there in the first place. We rearrange the game. We reuse old forms in a contemporary manner. The subtext is always clarity, narrative structures, evocation, and bold moves. We believe all brands would benefit from those in today’s over-saturated landscape.
Do you have any tips for up-and-coming designers?
Read books. Play more. Trust the process. Resist leaving assignments for the last minute. Design is incremental. Take care of your mental health.
To wrap up, let’s do a quick-fire round:
Favorite AI tool or technology?
I don’t have any.
Most inspiring city?
New York City, no explanations needed.
Digital or analog?
All is good; all have a purpose.
Dream client?
Any client who could trust the designer and the process.
