Famous sororities have offered creators the perfect pulpit to design fantasy environments, says Chris Hall
Caligula throwing a party ,” was how the funk musician Rick James described the famous Studio 54 in New York, which opened in 1977. There was a cocaine snort” Man and the Spoon” facet that would condescend from the ceiling where necessary, “therere” piles of cash in the back room, unisex lavatories and stunts like Bianca Jagger riding a mare on the dancefloor led by a naked humanity covered in gold glitter.
The key occasion about Studio 54, which features in a brand-new exhibit about world-wide team culture at Vitra Design Museum, was its adaptability. It could become a different fantasize medium to act as backdrop for the extravagant garbs and theatre of the party goers- such as when four tonnes of glitter were ceased 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 understood the rise of the idea that you don’t design a nightclub, you bring the negligible designing factors 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 infinite- genuinely the nightclub is just a container. Clubs are made through igniting and sound, psychotropic pharmaceuticals and beings .”
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