Famous sororities have offered creators the perfect platform 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 would sink from the ceiling when required, there were heaps of cash in the back room, unisex lavatories and stunts like Bianca Jagger riding a mare on the dancefloor led by a naked gentleman covered in gold glitter.
The key circumstance about Studio 54, which is available in a new exhibit about world-wide golf-club culture at Vitra Design Museum, was its adaptability. It could become a different fantasy environ to act as backdrop for the appalling attires and theatre of the 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 insured the rise of the idea that you don’t design a nightclub, you accompanying the minimal designing elements 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 opening- genuinely the nightclub is just a container. Clubs are made through illuminating and sound, psychotropic stimulants and people .”
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