25/06/2022

The #1 Design

Transformations through design: the 1980s.

Here is the second article that tells almost 50 years of pure Club through decades, fashions, innovations, popular culture, in short, all the passage between one century and another from the point of view of Kinki and the protagonists who have made it. he lived.

We hope you find it interesting, at least from a historical point of view.

All these articles can also be found on Instagram https://www.instagram.com/kinkiclub/

Today we are dedicated to design and furnishings. As Kinki has changed its interior many times, the posts on the subject will be different.

In April 1983, Francesca Alinovi's vision made Kinki appear on the pages of the cult magazine for design Domus and describes its furnishings.
It is the debut on the important media that will always deal with the venue throughout its long history.

It was already in the full trend that saw very important architects deal with the construction of entire structures destined to become discos, making use of a lot of poorly recovered material and a lot of technological innovation that in those years began to develop quickly.
Kinki has always followed this trend for decades and we will publish, in this and future posts, all the furnishings that, over the years, have always kept it avant-garde and transgressive, reserving you some big surprises ..

This described by Alinovi is the first furniture of which the writer has any trace in relation to the Kinki.
It is an installation created by Fabrizio Passarella and Giovanni Margotto with a lot of material found in Cinecittà.
The environment is Pompeian, and still being a strictly gay club, on the walls there are huge paintings that recall explicit sexual practices.

Illuminated columns, large curtains on the ceiling, basins, revolving fountains, capitals and statues make the environment very warm.

We are still in years where the consoles are not at the center of attention, so we are unable to identify them at first glance.

The last three photos are of the subsequent installation, circa 1984 unknown designer:
dark walls, games of fluorescent paint, of heads and hands on the walls and on the tables that come out in the light of the wood.
The columns are closed by plexiglass and illuminated by neon, exactly as we have seen them re-proposed, in concept, as they are in recent years. Mirrors and comfortable sofas finish a minimal but impactful furniture.