V&A Storehouse Archives

Opening of major cultural venue at East Bank in Stratford is another key piece in the 2012 Games’ legacy at the Queen Elizabeth Olympic Park

V&A East Museum is located at one end of East Bank - image by Jon Massey / Wharf Life — V&A East Museum is located at one end of East Bank – image by Jon Massey / Wharf Life

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“This is a place of dreams and possibilities,” said Gus Casely-Hayford, director of V&A East.

“What it needs now is people to come in and make them real.”

Speaking at the launch of V&A East Museum, the more prominently located second half of the west London institution’s new empire in this part of the capital, there’s a thrill in his voice.

Storehouse, located at Here East, has been a resounding success, welcoming 600,000 visitors through its doors since it opened last year, despite being somewhat tucked away amid the fabulous sprawl of the Queen Elizabeth Olympic Park.

The new museum sits on one end of East Bank beside the London College Of Fashion, the new BBC Music Studios and Sadler’s Wells East.

Its opening is a key part of the 2012 Games’ cultural legacy.

Just like the South Bank, these buildings are statements of intent, powerhouses for the arts rising proudly above Waterworks River with the V&A’s golden geometric concrete arguably the most visually striking.

But for Gus, it’s the flow of young minds in and out of its doors that he and the team care most about, the museum’s connection to the community.

Gus Casely-Hayford, director of V&A East – image by Jon Massey / Wharf Life

becoming the ladder

“East London is the place that gives us Alexander McQueen, David Bailey and so many other creators who had to struggle and fight in their fledgling careers to get their feet on the first rung of the ladder,” he said.

“For all those future makers and artists, we want to be there as that ladder.

“It shouldn’t just be middle class kids who have an uncle who works in film or an aunt who runs a gallery that succeed.

“It’s wonderful they have those opportunities, of course, but how do we ensure that those without those advantages in east London can get purchase on careers in the creative industries?

“I’m proud of the sense of possibility we’ve created here.”

Over simplifying, if Storehouse is a place to hold, look after and offer access to the 280,000 objects in the V&A family, chronicling some 5,000 years of human creativity, V&A East Museum is a place to show them off in tightly curated, thought-provoking ways.

To that end, it features two permanent Why We Make galleries, packed with treasures that are free to view.

There’s also an exhibition space, currently occupied by The Music Is Black: A British Story, which aims to illuminate 125 years of black British music via exhibits, stories and sound.

On its fifth floor there’s a terrace and another free exhibition, Dispersal, which captures the businesses that called this part of London home before the Olympics.

Then, on its lowest level, there’s Café Jikoni, a partnership with a restaurant group known for “cooking across borders”.

Even on press day it’s easy to see how these spaces will quickly fill with visitors, thanks in part to a programme of free live events, including a takeover by DJ Nia Archives, workshops and talks.

Molly Goddard’s Daria dress, once worn by Beyoncé, features 61 metres of tulle and takes pride of place in the Why We Make galleries - image by V&A East Museum — Molly Goddard’s Daria dress, once worn by Beyoncé, features 61 metres of tulle and takes pride of place in the Why We Make galleries – image by V&A East Museum

V&A East Museum – built for the community

“When I came into my role, it was at the time of the pandemic and we built a team and an idea through remote working,” said Gus.

“Part of that was informed by that period, but we wanted to create connectivity – an institution able to connect with the community.

“As soon as we were able, we got out there to see those communities, to talk to them and ask them what they wanted at the V&A East museum.

“They were really keen to tell us.

“I loved it because I got to visit more than 100 schools within a bus ride, speaking in assemblies and asking them what we should offer.

“Listening to them, many of those young people were frustrated.

“They aspired to work in the creative industries but had little or no understanding of how they might do it.

“We saw that there was a desperate need for institutions like V&A East and for young people to get engaged with them.

“So we worked with them – more than 30,000 people consulted on every area of operational and curatorial delivery.

“I hope this is an institution that reflects their aspirations, hopes and dreams and that visitors will see that as they walk through these spaces.

“Our permanent galleries are called Why We Make because we thought making was a theme that would really speak to young people.”

Robes worn by a Daoist priest - image by V&A East Museum — Robes worn by a Daoist priest – image by V&A East Museum

respecting the residents

“Everything here has been part of us demonstrating our respect for this place and its populations,” added Gus.

“I can’t wait to see people come streaming through these doors and absolutely fall in love with this space.

“It’s a different kind of museum, which I hope will appeal to a different kind of audience.

“The building is extraordinary. Architects O’Donnell + Tuomey have created a kind of multi-faceted jewel with gold-faced concrete and it’s absolutely exquisite.

“Inside, it has these astonishing geometric windows, which mean that almost anywhere you are, you can see out across the Olympic Park that surrounds us.

“You get a real sense of where you are when you’re inside.

“They also created circulation spaces where you can come in the entrance on the lower ground floor and walk all the way up the five floors above without encountering a door.

“We are living in societies which can feel very fractured.

“We’re located next to one of the biggest shopping centres in Europe and I hope we’ll become a place of gathering.

“Shops are wonderful, but they aren’t places of civic convening.

“We want this to be a place where particularly young people can come, hang out, learn things, but they can also be inspired.

“It’s a wonderful privilege to be the inaugural director of V&A East – it’s probably the best job in the cultural sector.

“My hope is that, as time goes on, it will also be a place where they don’t just find opportunities to remake themselves, but also to remake V&A East.”

This Paimio armchair by Alvar Aalto was designed for a tuberculosis sanatorium in Finland - image by V&A East Museum — This Paimio armchair by Alvar Aalto was designed for a tuberculosis sanatorium in Finland – image by V&A East Museum

key details: V&A East Museum

V&A East Museum is located at East Bank on the edge of the Queen Elizabeth Olympic Park.

You can find out more about the institution here.

Entry to the building is free, although tickets to see The Music Is Black: A British Story start at £22.50.

Concessions for students and those under 26 are available.

Skin of Skunk Anansie performs at Glastonbury. Her Clit Rock suit can be seen at V&A East Museum - image by Daniel Newman — Skin of Skunk Anansie performs at Glastonbury. Her Clit Rock suit can be seen at V&A East Museum – image by Daniel Newman

tried + tested: V&A East Museum

Any way you cut the complex geometry of V&A East Museum, it’s a fantastic addition both to the Stratford skyline and Newham’s cultural heft.

What Gus says about the relentless focus on connecting its spaces to the local community finds its proof in the new institution’s galleries.

The Why We Make spaces are refreshing. Superficially incongruous treasures – everything from glacial stupas to healing chairs and Daoist robes – are sewn together with a golden thread of locality.

Walk into the lower of the two galleries and you’ll immediately be confronted by Molly Goddard’s hot fuscia Daria dress, an east London creation that features 61 metres of tulle and was once worn by Beyoncé.

I’m left with no choice but to knock off a star because (teething troubles) my radar-linked Sennheiser headphones provided for a stroll round The Music Is Black: A British Story, failed to function properly.

This left me with a loop of the intro melody, rather than the 120 tracks promised.

My guess is that given this exhibition is about music, it’s probably better when you get to hear it.

However, even without the gospel, soul, rap, r’n’b, blues, rock, folk and grime, it’s a collection worth viewing thanks to the variety and vibrancy of the exhibits.

Here too, thanks to kids from the Lansbury Estate, Dizzee Rascal, Billy Ocean and countless performers still gigging at the likes of Boisdale Of Canary Wharf, the east is ever present.

Deep cuts.

****

4/5

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With 90,000 objects in its collection, the V&A Storehouse-based facility makes the granular detail of Ziggy Stardust, The Thin White Duke and so many more available to view for free

The David Bowie Centre at V&A East Storehouse - image by David Parry / PA Media Assignments — The David Bowie Centre at V&A East Storehouse – image by David Parry / PA Media Assignments

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“This archive, which has 90,000 items in it, shows David Bowie as an interdisciplinary artist, musician and cultural icon – an advocate for self-expression and reinvention,” said Dr Madeleine Haddon, curator at V&A East.

“The David Bowie Centre makes this collection accessible to everyone.”

As she speaks at the launch of the dedicated, permanent exhibition space, a huge video wall plays clips from the artist’s long and storied career.

There’s a flavour of worship about the place, perhaps even deification.

Madeleine speaks of Bowie’s wide and far-ranging impact on other artists, his varied creative processes and his willingness to experiment and collaborate with others in a reverent fashion as we gaze up into the mismatched eyes of the Thin White Duke, Ziggy Stardust and the rest.

In many ways, it’s not an unreasonable response. One of Bowie’s singular drives, it seems, was a desire to constantly archive and catalogue his endeavours.

This is evidenced by the artist’s numerous yellow post-its suggesting classification and categories that adorn much of the material.

Thus the David Bowie Centre at V&A Storehouse in the Queen Elizabeth Olympic Park’s Here East campus might, in some senses, be viewed as the one true repository of the icon’s relics.

A visitor considers exhibits on show at the new centre - image by David Parry / PA Media Assignments — A visitor considers exhibits on show at the new centre – image by David Parry / PA Media Assignments

the exhibits on show at the David Bowie Centre

“Behind me is a two-hour long film that traces Bowie’s live performances, music videos arranged chronologically, so you can see his evolution as a performer,” said Madeleine.

“We also have in here 200 objects from the archive that are on display, that trace his life and career, his creative processes arranged in these nine bays that look at his transformative creativity as a musician, a visual artist, a writer, designer and actor.

“Six will be on display for two years while the objects in the other three will rotate every six months in dialogue with contemporary issues we are exploring across V&A East.”

These are diverse altars of public worship, with costumes, notes and slices of his life.

Nile Rogers – who produced Bowie’s biggest-selling hit, Let’s Dance – has guest curated one, while another features Omikron: The Nomad Soul, a video game from 1999 that David did the music for, as an example of his futurism.

There’s lots to inspire and divert here, but really these displays are just a nod to the real function of the centre, one only made possible by its subject’s near fanatical amassing of his own story and its artefacts.

This is the astonishingly rare opportunity to really delve deeply into the granular residue of his creativity.

The centre includes a dedicated study room where anyone – not just academics and researchers – can, for free, order any item in the archive to view by appointment.

This is an extension of a service that’s available throughout the V&A’s massive collections.

Due to the depth of the Bowie archive, however, this presents a tantalising prospect for enthusiasts.

Of the 90k objects in the archive, 70k are pieces of paper that David and his team had already organised to some extent.

There are hand-written song lyrics, annotated scripts and sketches of ideas, costumes and props for various projects.

Their existence means that, for much of Bowie’s extensive output, there’s background material available to the public – concepts that never made it, comments from the time of creation and thoughts on the future.

Costume designed by Mark Ravitz and David Bowie, worn by David Bowie, to perform Man Who Sold the World, on Saturday Night Live in 1979 - image courtesy of the V&A — Costume designed by Mark Ravitz and David Bowie, worn by David Bowie, to perform Man Who Sold the World, on Saturday Night Live in 1979 – image courtesy of the V&A

the chance to dive deep

At the centre’s launch event, for example, I’m shown a series of designs for clothing and puppets to be used on Bowie’s 1979 appearance on Saturday Night Live with Klaus Nomi and Joey Arias as backing singers.

It’s the one where he sang The Man Who Sold The World.

There really is a thrill in seeing simple sketches by someone who achieved such success in their lifetime juxtaposed with the kind of doubtful notes we all might make on a pad of paper.

The crossings-out are a light reminder that Bowie was human, after all.

But the centre offers more than this.

Also in the study room when I visit is the actual costume Bowie wore for the show.

Modelled after Nomi’s aesthetic, the angular tux prevented David from walking, so he had to be placed before the mic by his artistic accomplices at the start of the performance.

This is the magic. The opportunity to see one-to-one designs springing so vibrantly off the page and into reality.

There’s a feeling visitors could, with a bit of research, replicate this with so many of the objects in Bowie’s archive, discovering the origin story of each piece.

A V&A Collections Access Officer handles a life mask by William Forsche of David Bowie’s face painted to resemble his makeup from Aladdin Sane – image by David Parry for the V&A

archiving himself

“Bowie saved everything from scribbled notes to elaborate sketches and is a powerful reminder that no idea is too small and that the creative process is worth documenting at every stage,” said Madeline.

“You get to see that behind the scenes here at the David Bowie Centre.

“This approach is one that is a rich legacy for all artists in all disciplines and all backgrounds who we hope will come and visit us here.”

It’s worth noting, perhaps, that while the Bowie archive does lend itself to detailed exploration, those visiting Storehouse who simply wish to drop in will still be rewarded.

The centre works on many levels. There are easily accessible copies of some of the archive’s popular documents on show and the bays of exhibits to enjoy.

There’s also the seemingly endless barrage of images from the video screen and an especially curated soundtrack of Bowie’s songs. But most of all, visitors will be left with the unmistakeable impression of complexity.

As an artist known for his constant reinvention, seeing the working behind the illusion only impresses at the sheer relentless energy it must have taken to achieve so much.