If the readers of this particular piece happen to be counter culture* documentary film fans as well, then you, as one of those readers & documentary film fans, will know well the premise & subject of both Party Monster the Shockumentary** as well as Paris is Burning. If you aren’t, this might not be for you, yet… but stick with me kid!
A parallel that is easy for even the initiated to miss in both films is talk from those who know, about the importance of DIY in design (specifically fashion & costume design) & worried expressions of a perceived departure from that in a given creative scene; 90’s Club Land & 80’s Harlem drag balls, in the case of the previously mentioned films.
The act of design — more so than the medium or discipline involved, & the intention behind that act, seem to be what make it “good” design.
It is not my lifelong interest in aesthetics, study of arts & architecture, creative ambitions as a maker, or even career as an arts writer that lead to that conclusion, however, it is an understanding of the sort of place making designers of all sorts have been able to do; benefiting not only the general public, but also — perhaps especially — those inspired to add to those designs through whatever the appropriate method of participation may be, & how intention informs that design.
In attempt to clarify:
Peter Gatien, the nightclub impresario of our time, whose creative process & intention you can learn more about in the documentary film Limelight, designed an atmosphere with long term, still affecting, waves such as the legendary status of Party Monster’s Michael Alig, the presently forthcoming Limelight film, & what was the most legendary location for what was the hottest gym chain in America — not to mention the Alig influence on the designs of after dark fun in my own current city of residence, a la Brooke, one of Alig’s more infamous Club Kids.
Like Gatien, there are more familiar references…
Warhol, as a designer of the sort of place making that extends to music, the art scene as a whole, fashion, & to what would almost immediately after the era & life of Warhol become Gatien and Alig’s kingdom — NYC nightlife.
We ourselves use often pre-conceptualized design, the design of the spaces we choose to occupy, the clothes we choose to wear…. to design our exterior selves — our realities; on a surface level.
Those with a peripheral knowledge of today’s art scene will know of Theaster Gates as a designer of a new conversation around development, cultural spaces, & what an arts city is.
New Yorkers may be familiar with Jonathan Cheban as a designer of the latest wave of food based luxury consumption (see 24k gold hot wings via Guest of a Guest)
& just about everybody who’s anybody, right along with everyone else, knows of rapper Cardi B. as a designer of a completely new archetype…
The intention behind design can reach far beyond what the designer may have ever conceived of, & with that in mind the briefly touched upon concept of ourselves as designers comes back to me.
To be the Gates, Gatien, or even the Cardi of your own life… to take the inspiration that applies to the design & creation of a revolutionary space, particular moment in time, eternally relevant garment, or cult film set, & apply it to the space of your existence could be a grand experiment.
Success based intention for good design.
Good living as good design.
All starting with “good” intention.
What do you think?
for lack of a better term. *
talk of the departure from DIY club-wear comes much later from the Club Kid set; post Party Monster, see Glory Daze (currently available on Netflix) **
Additional reading, linked throughout, sourced from:
- New York Times
- Deadline
- New Now Next/Logo
- New York Magazine
- TED
- Guest of a Guest
