Famous sororities have offered artists the perfect pulpit to design fantasy situations, 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 snorting” Man and the Spoon” facet that they are able to condescend from the ceiling when required, “therere” slews of cash in the back area, unisex showers and stunts like Bianca Jagger riding a horse on the dancefloor conducted in accordance with a naked serviceman covered in gold glitter.
The key thought about Studio 54, which is available in a brand-new expo about world club culture at Vitra Design Museum, was its adaptability. It could become a different fantasize milieu to act as backdrop for the abominable dress and theatre of the party goers- such as when four tonnes of glitter were removed 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 checked the rise of the idea that you don’t design a nightclub, you bring the minimal design parts to make a nightclub ,” says Catharine Rossi, a designing historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical space- genuinely the nightclub is just a container. Clubs are made through igniting and sound, psychotropic drugs and people .”
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