Famous clubs have offered masters the perfect programme to design fantasy milieu, says Chris Hall
Caligula throwing “states parties ” ,” was how the funk musician Rick James described the famous Studio 54 in New York, which opened in 1977. There was a cocaine snorting” Man and the Spoon” facet that would tumble from the ceiling where needed, there are still stacks of cash in the back chamber, unisex showers and stunts like Bianca Jagger riding a pony on the dancefloor is presided over by a naked boy covered in gold glitter.
The key thing about Studio 54, which is available in a brand-new exhibit about world club culture at Vitra Design Museum, was its adaptability. It could become a different imagination surrounding to act as backdrop for the outrageous costumes and theatre of the party goers- such as when four tonnes of glitter were fallen from the club’s ceiling on New Year’s Eve or when the fashion designer Valentino had a circus-themed birthday party with sand and mermaids on trapezes.
” The 60 s and 70 s encountered the rise of the idea that you don’t design a nightclub, you fetching the negligible design parts to make a nightclub ,” says Catharine Rossi, a motif historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical opening- actually the nightclub is just a container. Clubs are made through igniting and sound, psychotropic medications and parties .”
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