Famous guilds have offered creators the perfect programme to design fantasy contexts, says Chris Hall
Caligula throwing a party ,” was how the funk musician Rick James described the famed Studio 54 in New York, which opened in 1977. There was a cocaine snorting” Man and the Spoon” peculiarity that they are able to tumble from the ceiling when required, there were stockpiles of cash in the back room, unisex showers and stunts like Bianca Jagger travelling a pony on the dancefloor led by a naked boy covered in gold glitter.
The key thing about Studio 54, which features in a new expo about world-wide club culture at Vitra Design Museum, was its adaptability. It could become a different fiction situation to act as backdrop for the extravagant dress 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 received the rise of the notion that you don’t design a nightclub, you make the negligible blueprint 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 room- actually the nightclub is just a receptacle. Clubs are saw through illuminating and sound, psychotropic pharmaceuticals and beings .”
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