Los Angeles

Jennifer Steinkamp

ACME.

Time: late night, 1970s. Scene: a party leaving Halston’s Paul Rudolph-designed town house for the newly opened Studio 54. “Sterling St. Jacques kissed Mrs. Vreeland twice. Het told her that she had to come to Studio 54. ’It’s very futuristic,’ he said. ’Bianca is going to ride in on a white horse with two nude men,’ said Joe Eula, a friend of Halston’s. Marina Schiano, who represents Yves Saint Laurent in this country, said that she, too, thought Studio 54 was futuristic. She said that the elaborate lighting at Studio 54 constituted ’an art form.’ ’I’ve never understood that—about art forms,’ Mrs. Vreeland said. ’People say a little Schiaparelli design is an art form. Why can’t it just be a very good dress?” So George W.S. Trow notes near the close of his profile of music mogul Ahmet Ertegun, which concluded the original edition of Within the Context of No Context (the passage was

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