Famous sororities have offered artists the perfect platform to design fantasy environs, says Chris Hall
Caligula throwing “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” facet that would descend from the ceiling when required, “therere” heaps of cash in the back area, unisex bathrooms and stunts like Bianca Jagger riding a horse on the dancefloor conducted in accordance with a naked boy covered in gold glitter.
The key concept about Studio 54, which features in a new expo about world-wide organization culture at Vitra Design Museum, was its adaptability. It could become a different imagination context to act as backdrop for the outrageous attires and theatre of the working party goers- such as when four tonnes of glitter were declined 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 appreciated the rise of the idea that you don’t design a nightclub, you delivering the minimal motif parts 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 seat- truly the nightclub is just a container. Clubs are made through igniting and sound, psychotropic medicines and parties .”
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