Famous teams have offered creators the perfect stage to design fantasy situations, 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” aspect that would descend from the ceiling when required, there were heaps of cash in the back room, unisex showers and stunts like Bianca Jagger riding a mare on the dancefloor led by a naked serviceman covered in gold glitter.
The key thing about Studio 54, which features in a brand-new expo about world-wide golf-club culture at Vitra Design Museum, was its adaptability. It could become a different imagination context to act as backdrop for the outrageous clothings and theatre of the working party goers- such as when four tonnes of glitter were stopped 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 saw the rise of the idea that you don’t design a nightclub, you bringing the negligible blueprint ingredients to make a nightclub ,” says Catharine Rossi, a intend historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical infinite- truly the nightclub is just a container. Clubs are made through lighting and sound, psychotropic doses and people .”
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