Famous societies have offered creators the perfect stage to design fantasy environments, says Chris Hall
Caligula hurling a party ,” 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” aspect that would condescend from the ceiling when required, there were heaps of cash in the back area, unisex bathrooms and stunts like Bianca Jagger journeying a mare on the dancefloor led by a naked humanity taken into consideration in amber glitter.
The key thing about Studio 54, which features in a new expo about global association culture at Vitra Design Museum, was its adaptability. It could become a different fantasize environ to act as backdrop for the outrageous dress and theatre of the party goers- such as when four tonnes of glisten were stopped 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 recognized the increases of the idea that you don’t design a nightclub, you accompany the negligible blueprint ingredients to make a nightclub ,” says Catharine Rossi, a blueprint historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical space- actually the nightclub is like a receptacle. Clubs are represented through lighting and sound, psychotropic medicines and parties .”
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