Famous societies have offered masters the perfect pulpit to design fantasy situations, tells Chris Hall
Caligula hurling “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” feature that they are able to pitch from the ceiling when required, there used to be stacks of cash in the back room, unisex showers and stunts like Bianca Jagger razzing a horse on the dancefloor led by a naked mortal covered in golden glitter.
The key thought about Studio 54, which features in a brand-new exhibit about world organization culture at Vitra Design Museum, was its adaptability. It could become a different fiction milieu to act as backdrop for the flagrant costumes and theatre of the party goers- such as when four tonnes of glint were put from the club’s ceiling on New Year’s Eve or when the clothes designer Valentino had a circus-themed birthday party with sand and mermaids on trapezes.
” The 60 s and 70 s experienced the rise of the idea that you don’t pattern a nightclub, you wreak the negligible design components to make a nightclub ,” answers Catharine Rossi, a motif historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical room- really the nightclub is just a receptacle. Clubs are manufactured through igniting and sound, psychotropic doses and beings .”
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