@misc{9246733,
  abstract     = {{This study examines how clothing practices at Studio 54 between 1977 and 1980 functioned as visual expressions of status, identity and belonging. Through a qualitative visual analysis of ten black-and-white photographs from Hasse Persson’s photobook Studio 54, the study investigates how clothing, styling and bodily expressions contributed to the construction of social hierarchies within the nightclub’s visual culture.
The methodological framework is based on Gillian Rose’s critical visual methodology together with semiotic concepts of denotation and connotation. The theoretical framework consists of Judith Butler’s theory of performativity, Otto von Busch’s theories of fashion and imitation, as well as Stuart Hall’s theory of representation.
The study shows how reflective materials, body-conscious silhouettes, accessories and theatrical styling functioned as visual markers of glamour, exclusivity and visibility. The analysis further demonstrates how poses, body language and self-presentation contributed to making social status visually legible within Studio 54. The study also identifies how inclusion and exclusion were produced through aesthetic ideals connected to desirability and visibility.}},
  author       = {{Ljung, Sandra and Bengtsson, Telma}},
  language     = {{swe}},
  note         = {{Student Paper}},
  title        = {{Fashionable Studio 54}},
  year         = {{2026}},
}