Famous golf-clubs have offered creators the perfect pulpit to design fantasy environments, says Chris Hall
Caligula throwing “states parties ” ,” was how the funk musician Rick James described the legendary Studio 54 in New York, which opened in 1977. There was a cocaine snorting” Man and the Spoon” facet that would condescend from the ceiling when required, there were collections of cash in the back area, 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 features in a new exhibition about global squad culture at Vitra Design Museum, was its adaptability. It could become a different fantasy environment to act as backdrop for the outrageous attires and theatre of the party goers- such as when four tonnes of glitter were drooped 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 investigated the rise of the idea that you don’t intend a nightclub, you accompanying the negligible layout points 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 seat- genuinely the nightclub is just a receptacle. Clubs are made through lighting and sound, psychotropic medicines and people .”
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