Famous fraternities have offered creators the perfect platform to design fantasy environments, 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 snort” Man and the Spoon” facet that they are able to pitch from the ceiling where needed, there were batches of cash in the back area, unisex showers and stunts like Bianca Jagger riding a horse on the dancefloor led by a naked humankind covered in gold glitter.
The key thing about Studio 54, which features in a new expo about world association culture at Vitra Design Museum, was its adaptability. It could become a different imagination environment to act as backdrop for the outrageous outfits and theatre of the working party goers- such as when four tonnes of glitter were dropped 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 received the rise of the idea that you don’t design a nightclub, you bring the negligible design components to make a nightclub ,” says Catharine Rossi, a design historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical infinite- actually the nightclub is just a container. Clubs are made through igniting and sound, psychotropic medicines and people .”
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