Famous squads have offered masters the perfect stage to design fantasy contexts, 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” peculiarity that would pitch from the ceiling where needed, there are still stockpiles of cash in the back chamber, unisex bathrooms and stunts like Bianca Jagger riding a pony on the dancefloor is presided over by a naked human covered in gold glitter.
The key thing about Studio 54, which is available in a brand-new exhibit about global association culture at Vitra Design Museum, was its adaptability. It could become a different fiction context to act as backdrop for the outrageous costumes and theatre of the working party goers- such as when four tonnes of glitter were plunged 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 watched the rise of the idea that you don’t layout a nightclub, you fetching the minimal layout ingredients 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 opening- certainly the nightclub is just a container. Clubs are made through lighting and sound, psychotropic narcotics and beings .”
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