logo
‘Museums should be and are for everybody': London's V&A Storehouse lets visitors order an object for up-close viewing

‘Museums should be and are for everybody': London's V&A Storehouse lets visitors order an object for up-close viewing

Malay Maila day ago

LONDON, June 14 — Imagine being able to visit a museum and examine up close thousand-year-old pottery, revel alone in jewellery from centuries past, or peer inside a Versace bag.
Now London's V&A has launched a revolutionary new exhibition space, where visitors can choose from some 250,000 objects, order something they want to spend time looking at, and have it delivered to a room for a private viewing.
Most museums have thousands of precious and historic items hidden away in their stores, which the public never gets to see or enjoy.
But the V&A Storehouse, which opened on May 31 in a specially converted warehouse, has come up with a radical new concept. And it is totally free.
'Museums should be and are for everybody... the V&A's collection is for everybody. It belongs to everybody, and everyone should be able to have free, equitable, and meaningful access to it,' said senior curator Georgia Haseldine.
'So this is a world first, never has anyone been able to be invited freely, without having to book into the same space as a national collection, on this scale.'
One fifth of the museum's total collection is now available to be viewed and enjoyed in the four-storey building on the former site of the 2012 London Olympic Games.
A visitor looks at the painting "Stage Cloth" by Spanish artist Pablo Picasso exhibited in the newly opened museum V&A East Storehouse, in East London June 12, 2025. — AFP pic
No protective glass
'It's fantastic, it's so much better than an ordinary museum,' enthused retired physics teacher Jane Bailey as she toured the floors.
'I'm just really, really impressed by it. We've only just heard about it, but it's phenomenal.'
She was transfixed by the sight of the black and red drum kit which belonged to Keith Moon, from the band The Who, saying it would be great to be able to resuscitate the legendary drummer who died in 1978, to play a set for them.
Jostling for space, side-by-side on shelves in a massive hanger which resembles a DIY commercial warehouse and stretches for more than 30 basketball courts, are everything from ceramics and tapestries, to paintings and toys from the Tudor period.
There is even the whole 15th-century gilded wooden ceiling from the now-lost Torrijos Palace, and the Kaufmann Office, a panelled room which is the only complete Frank Lloyd Wright interior outside of the United States.
Hanging on display is the stunning stage front cloth made for Le Train Bleu — a copy of a Pablo Picasso painting it was specially designed for the 1924 Ballets Russes production. At 12 metres, its huge size means it has rarely been seen since its stage debut.
There is no protective glass.
One of the first visitors to the Storehouse was Princess Catherine, a patron of the V&A and keen art lover, who took a tour on Tuesday.
She described the collection as 'eclectic' as she used the 'order an object' system to look at a samples book from renowned 19th century English textiles designer William Morris as well as rolls of ornate textiles and a musical instrument.
All the works are available to the public seven days a week, and can be reserved via an online booking system for a private viewing at a date and time of your choice.
Members of staff are on hand paying close attention as visitors don purple gloves and satisfy their curiosity, spending time with the object of their choice.
A visitor looks at the artefacts exhibited in the main room of the newly opened museum V&A East Storehouse, in East London June 12, 2025. One fifth of the museum's total collection is now available to be viewed and enjoyed in the four-storey building on the former site of the 2012 London Olympic Games. — AFP pic
'Love letter'
It's a huge departure from the usual admonishment of 'Don't touch!' found in most museums seeking to protect their objects from damage.
Curator Haseldine acknowledged 'we have certainly met with some levels of scepticism and worry'.
But she said once the idea was explained properly including 'how meaningful it is to ... start to open up and give collections back to a community ...people just start to think creatively about how we can do this'.
American national Manuel Garza living in London said he thought the V&A Storehouse was 'one of the most interesting spaces that just opened up here in London'.
Haseldine said 'this building is a love letter to objects'.
'To be able to see around the back of an object, to be able to look inside a dress, to be able to see the bottom of a pot, all these things are how we really learn about our material culture,' she added.
Expert Kate Hill, who teaches cultural history at Lincoln University, said 'it's pretty unusual for museums to open up their storehouses'.
'Most of the time they offer some 'behind the scene' tour, but their objets are not accessible. It's visible but not accessible.'
Visitor Jane Bailey said: 'I would hope that this is the museum of the future, because some are very, very stuffy. We went to one recently and it was excruciating.' — AFP
A visitor looks at the Spanish medieval ceiling called Torrijos ceiling originally from the town of Torrijos near Toledo, exhibited in the newly opened museum V&A East Storehouse, in East London June 12, 2025. — AFP pic

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Feathers, florals, and flair: The art of making headlines (and hats) for Royal Ascot
Feathers, florals, and flair: The art of making headlines (and hats) for Royal Ascot

Malay Mail

time3 hours ago

  • Malay Mail

Feathers, florals, and flair: The art of making headlines (and hats) for Royal Ascot

LONDON, June 15 — At her London studio, Merve Bayindir carefully glues on dried flowers onto a pale pink saucer hat. Nearby, an array of other colourful headpieces are on display. The Turkish-born milliner has been busy making hats for guests attending the annual Royal Ascot racing event, where headwear is a must. 'It is the biggest runway. It's the Oscars. It's the Golden is what it is for because you can't see that many amazing hats in one spot at the same time for a week,' she told Reuters. The horse-racing event, held in Ascot just outside London, kicks off on June 17 for five days. It has become as much known for the colourful fashion as for the sport. Its various enclosures have different dress codes — the strictest is for the royal enclosure. 'You have to have minimum ten centimetres of diameter on a hat,' Bayindir said. 'So (for) the ladies in royal enclosure, we always say make sure that your hat is not a fascinator,' she added, referring to elaborate, decorative headpieces, often fixed on a band or clip. For the Queen Anne and village enclosures, hats, headpieces or fascinators are allowed. In terms of colours, Bayindir said designs in pale pink and blue were annual staples, with fuchsia, sage green and lilac also proving popular lately. As for size, the bigger the better. Details on a bespoke hat created by Merve Bayindir ahead of the upcoming Royal Ascot racing event. — Reuters pic 'It doesn't matter who you are, you can be the star and take that chance and be outrageous,' she said. 'Royal Ascot itself has a very big personality. So you need to sort of support that big personality and be part of it if you want to be really enjoying the environment.' — Reuters

Sir David at last: Knighthood cements Beckham's £500m brand
Sir David at last: Knighthood cements Beckham's £500m brand

Malay Mail

time18 hours ago

  • Malay Mail

Sir David at last: Knighthood cements Beckham's £500m brand

LONDON, June 14 — David Beckham's knighthood is the culmination of years of tireless efforts to transcend football and turn himself into a global icon at the 'intersection of sport, fashion and business.' He had long dreamed of becoming a sir and King Charles III made it a reality when he announced his birthday's honours list on Friday, marking the end of a decades-long journey travelled with his Spice Girl wife Victoria, creator of the eponymous fashion brand. The honour, one of the highest bestowed by the UK state, 'is a powerful symbolic marker', Marie Agnes Parmentier, professor of marketing at the University of Montreal and author of several papers on 'Posh and Becks', explained to AFP. It 'reinforces his image as a respectable, committed, and, first and foremost, British man,' she added. The knighthood could present new opportunities for the 50-year-old former Manchester United and Real Madrid player, 'particularly in diplomatic, charitable or political spheres', said Parmentier. The former free-kick ace, from a modest East London background, diversified his career after retiring from football in 2013, but success was the result of planning long before he hung up his boots. 'I knew my career was going to end at some point and I wanted to have a career after football,' he said in the documentary series Beckham, which aired on Netflix in 2023. Pioneer At the height of his football career, Beckham was signing deals with top clothing and beauty brands, building an audience that cut across gender, age and nationality — becoming the first England player to crack the US market. The successful brand was built on his always immaculate appearance and nearly-always exemplary off-field behaviour, coupled with an unwavering drive to become a pioneer. This required a certain amount of courage, given that English football in the 1990s was generally the preserve of no-nonsense lads more interested in the pub than the catwalk. His appearance in a sarong during the 1998 World Cup, revelations that he used make-up, and his eccentric hairstyles were all feverishly gobbled up by the UK's tabloid press. Beckham is still capitalising on the fascination, almost 30 years later. He unveiled his first collection for Hugo Boss in April, is the founder of the Inter Miami football club and the 'Studio 99' production company, and has been a Unicef ambassador for 20 years. He is now best known not for football, 'but for being Beckham, the brand', said sociologist Ellis Cashmore. It is a brand worth £500 million (RM2.9 billion), according to The Times newspaper's 2025 ranking. From outcast to hero The Netflix show exposed the couple to an emerging younger audience, cementing their fame for the foreseeable future. Beckham 'embodies a celebrity at the intersection of sport, fashion, entertainment and business,' explained Parmentier. The couple's enduring visibility 'is based on a sophisticated media strategy and an ability to embody universal values such as work, family and style,' she added. But it has been a long and bumpy road, Cashmore pointed out. In 1998, Beckham was called the most hated man in England after he petulantly kicked out at Argentina's Diego Simeone during their World Cup round of 16 game. Beckham was harshly sent off and England lost to their bitter rivals in a penalty shoot-out. Those who had bitten their tongue about his off-field flamboyance gave full vent to their feelings. National headlines the next day included '10 Heroic Lions, One Stupid Boy' (Daily Mirror) and 'You're Just A Joke Becks' (Daily Mail). Months of 'hell' followed, with death threats, spitting and boos accompanying Beckham wherever he went. 'Wherever I went I got abused, every single day,' he said. 'I find it hard to talk through what I went through because it was so extreme. The whole country hated me.' But the ordeal only sharpened Beckham's focus. A year later, he finished second in the Ballon d'Or as he helped Manchester United claim an unprecedented treble, winning the Champions League, Premier League and FA Cup. It was often said that Beckham's career seemed to be scripted by a movie writer, never more so than when the fallen idol took his revenge by scoring the winning goal against perennial rivals Argentina in the 2002 World Cup, redeeming his national hero status. The royal family were quick to embrace him, inviting Beckham to the weddings of Prince William and Kate Middleton in 2011 and Prince Harry and Meghan Markle in 2018. Previous rumours of an impending knighthood came to nothing, but his star once again rose in 2022 after the death of Queen Elizabeth II. While other celebrities came under fire for skipping the queue to view her coffin, Beckham lined up with members of the public for almost 12 hours to pay his respects. Since then, it has seemed that 'Sir David' was only a matter of time in coming. — AFP

At this London museum, no one will shush you, and you can touch the objects
At this London museum, no one will shush you, and you can touch the objects

The Star

timea day ago

  • The Star

At this London museum, no one will shush you, and you can touch the objects

A museum is like an iceberg. Most of it is out of sight. Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London's Victoria and Albert Museum has opened up its storerooms for visitors to view - and in many cases touch - the items within. The 16,000sq m building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn. The V&A is Britain's national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival. Kate Parsons, Director of Collections Care and Access, shows a costume worn by Elton John on his 1981 world tour, at the V&A Storehouse in London. Photo: AP "It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. The Order an Object service offers "a behind-the-scenes, very personal, close interaction' with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit. Parsons said there has been "a phenomenal response' from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and "someone last week who was using equipment to measure the thread count of an 1850 dress.' Georgia Haseldine, senior curator, looks up at the section of Robin Hood Gardens facade on display at the V&A Storehouse in London. Photo: AP She says strangers who have come to view different objects often strike up conversations. "It's just wonderful,' Parsons said. "You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn't know.' The V&A's flagship museum in London's affluent South Kensington district, founded in the 1850s, is one of Britain's biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games. As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London's most deprived districts. Designed by Diller, Scofidio and Renfro, the firm behind New York's High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some 10m (more than 30 feet) high. Religious artefacts on display at the V&A Storehouse in London. Photo: AP Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate. Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center, a home for the late London-born musician's archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September. One aim of the Storehouse is to expose the museum's inner workings, through displays delving into all aspects of the conservators' job - from the eternal battle against insects to the numbering system for museum contents - and a viewing gallery to watch staff at work. The increased openness comes as museums in Britain. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, "so that we can talk very openly about where things have come from, how they ended up in the V&A's collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects. "On average, museums have one to five percent of their collections on show,' she said. "What we're doing here is saying, 'No, this whole collection belongs to all of us. This is a national collection and you should have access to it.' That is our fundamental principle.' - AP

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store