Imagine walking into a museum and feeling like it was built just for you – sparking life-altering discoveries that could redefine your path. That's the bold vision behind V&A East, a groundbreaking project led by Gus Casely-Hayford, designed to empower Gen Z and beyond. But stick around, because this isn't just another gallery; it's a revolution in how we connect young minds with creativity. And here's where it gets truly intriguing: what if the future of cultural spaces hinges on challenging old norms and embracing fresh voices?
As a young boy, Gus Casely-Hayford visited the British Museum with his sister Margaret, who played a pivotal role in shaping his perspective. Museums didn't always resonate with him – he often felt out of place, especially since they seldom highlighted tales of Black British individuals like himself. Yet Margaret was unwavering. She insisted that these institutions belonged to everyone, and even if they didn't yet share our narratives, Gus could be the one to rewrite that story.
Fast forward to today, and as the head of V&A East, Gus is crafting an environment where youth can step in and experience those pivotal, trajectory-shifting encounters. This ambitious endeavor spans two locations in London's Olympic Park: the V&A Storehouse, which debuted in May and smashed its visitor goals in just a third of the expected timeframe, and the main V&A East Museum. Housed in a striking five-story structure crafted by Irish architects O’Donnell & Tuomey along Stratford Waterfront, this space is all about reimagining the Victoria and Albert Museum's treasures for groups who've long been overlooked by traditional cultural hubs.
After setbacks like the pandemic, labor shortages, and the sheer complexity of erecting such intricate facilities, the museum is set to welcome the public on April 18 next year. It forms a vital piece of the East Bank initiative – a £1.1 billion cultural and educational hub spearheaded by London's mayor to revitalize the old Olympic boroughs, ensuring the 2012 Games' legacy lives on vibrantly. V&A East joins forces with neighbors like Sadler’s Wells East, London College of Fashion, UCL East, and BBC Music Studios. When asked about funding from the Department for Digital, Culture, Media and Sport, Gus describes it as exceptionally generous.
Gus himself radiates warmth and enthusiasm, but it's his deep-seated love for the arts that truly captivates during our chat at the V&A Storehouse, amid a vibrant display of local students' creations – from soccer jerseys to bicycles and ceramic pieces. His goal for V&A East is to create a haven that's inviting and motivational for any young, imaginative soul who might find the main V&A in South Kensington too daunting yet has outgrown Young V&A, tailored for kids under 14. East London emerged as the ideal spot, not just for its historical roots in manufacturing and design, but for nurturing icons like Alexander McQueen and David Bailey. Gus is resolute in spotting and cultivating 'equivalent figures' among today's youth, using V&A East as their gateway to artistic worlds. 'You encounter so many young folks brimming with creative fire, but museums often don't feel like home to them,' he notes.
To bridge this gap, Gus personally visited every secondary school in the surrounding four boroughs over the past five years, while the team gathered input from around 30,000 young people. This feedback shaped everything, from the core exhibits to the staff attire – think burgundy waistcoats with adjustable backs for personal flair. The team's makeup mirrors the area's rich diversity, reflecting a commitment to local roots. 'We've invested immense effort in rooting V&A East within these communities,' Gus shares. 'This is their space, and these treasures are for everyone. It's incredibly uplifting to hear them echo our goals in their own words.'
So, what wonders await? V&A director Tristram Hunt explains that they've reinterpreted the V&A's acclaimed holdings through a modern viewpoint, delving into pressing themes like representation, personal identity, mental health, craftsmanship, and social equity. The permanent exhibit, aptly titled Why We Make, underscores a fundamental truth: 'Before we speak or stroll,' Gus says, 'we create. It's a universal drive spanning every society and era of human existence.'
This showcase features roughly 500 items from over 200 creators across more than 60 countries. For example, there's an exquisite ceramic work by Ecuadorian-Guinea Spanish artist Bisila Noah, a dreamy pink gown from local designer Molly Goddard, and fabric designs by postwar Trinidadian innovator Althea McNish. These pieces narrate humanity's inventive spirit across the V&A's famous mediums. Gus emphasizes V&A East's bold commitment to diversity: 'These varied intellectual threads weave into every national museum. Resisting efforts to broaden our reach to every walk of life feels antithetical to that core.'
Beyond the permanent displays, temporary shows will rotate in, with the inaugural one being The Music Is Black – a deep dive into 125 years of Black British music, covering everything from calypso and reggae to hip-hop and drill. While Gus keeps specifics under wraps, expect appearances from legends like Seal, Shirley Bassey, Stormzy, and Little Simz, plus Joan Armatrading's first guitar, whom Gus calls a 'personal idol.'
Despite the optimism, Gus grapples with museums' broader challenges. He's a vocal advocate for repatriating stolen artifacts, and the V&A is stepping up, including through a collaboration with Ghana. 'I'm immensely proud that the V&A joins other institutions in returning items, especially our Ghana initiative,' he says, noting that legal constraints mean returns occur on loan, with pieces now showcased at the Manhyia Palace Museum.
On funding ethics – particularly corporate sponsorships for temporary exhibitions – Gus remains cautious. Some in the field have brushed off criticisms of partnering with environmentally harmful firms as mere pessimism. 'Ethical sponsorship is a universal concern in our world,' Gus responds. 'We aim to be exceedingly careful about any entities we align with.' And this is the part most people miss: Could accepting 'tainted' funds ultimately undermine a museum's mission, or is it a pragmatic necessity in an underfunded arts landscape? It's a debate worth unpacking.
Gus hails from the illustrious Casely-Hayford lineage, a Ghanaian-British family tracing back to 19th-century figure JE Casely-Hayford, a champion of pan-African unity. His Ghanaian dad, Victor, was a lawyer-turned-accountant, and his Sierra Leonean mom, Ransolina, served at the British Council – both immigrants who built lives in the UK. His siblings excelled: Margaret as Coventry University's chancellor, Peter as a BBC Panorama producer, and Joe, who passed from cancer in 2019 at 62, a trailblazing fashion designer spotlighted in Somerset House's 2023 Black fashion exhibit, The Missing Thread. Gus grows emotional recalling Joe: 'He was my hero, my inspiration. Recently, flipping through old art books, I realized every one was a gift from him.'
Gus's career is a tapestry of achievements: hosting BBC's Lost Kingdoms of Africa, writing on West African art, and directing the Smithsonian's National Museum of African Art in Washington DC – where he laments the 'Trump-era attacks' on his former colleagues' endeavors. His museum journey began post-PhD in African history from SOAS, joining the British Museum's education team – the very spot where Margaret planted the seed of transformation.
There, he orchestrated Africa 05, Britain's biggest African arts festival, uniting 150 institutions to celebrate the continent's heritage. It challenged the sector's status quo. 'Museums inherently conserve the past,' Gus observes, 'but they can perpetuate outdated views.' What lesson did he glean? 'You can achieve what seems insurmountable.'
He views V&A East as his crowning achievement, realizing his dream of making these 'spaces for everyone' truly inclusive. 'They showcase our stories via humanity's greatest creations,' he reflects. 'Art lets us leave a lasting imprint and truly grasp others' emotions beyond mere thoughts. Museums house the pinnacle of that creative spark.'
But here's where it gets controversial: In an era of global reckonings, is V&A East's emphasis on diversity and accessibility enough to heal historical wounds, or does it risk diluting the 'universal' in favor of localized narratives? What about the ethics of funding – are we sacrificing principles for progress? Share your thoughts below: Do you agree that museums should prioritize young, underserved voices, or do you see potential downsides? Let's discuss!
