Famous golf-clubs have offered masters the perfect pulpit to design fantasy milieu, says Chris Hall
Caligula hurling “states parties ” ,” 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 would pitch from the ceiling when required, “theres gonna be” heaps of cash in the back room, unisex bathrooms and stunts like Bianca Jagger razzing a horse on the dancefloor led by a naked being taken into consideration in amber glitter.
The key thing about Studio 54, which features in a new show about world-wide society 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 working party goers- such as when four tonnes of glitter were stopped 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 accompanied the rise of the notion that you don’t design a nightclub, you bring the negligible motif points to make a nightclub ,” says Catharine Rossi, a pattern historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical room- really the nightclub is just a container. Clubs are reached through illuminating and sound, psychotropic stimulants and beings .”
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