It was only while living in the US that I really fell in love with the UK. Perhaps distance, maybe a different geographical vantage point, gave me the opportunity to reflect on the particular brilliance of Britain’s cultural offer, the chance to muse on the irrepressible invention of an art sector that can present and celebrate its past like no other and demonstrate the confidence to endlessly deconstruct (and occasionally eviscerate) cultural conventions and reimagine itself in thrilling ways. It was only while working in Washington DC that I really appreciated the true richness and complexity of London’s museum offer. I developed an almost irrational longing to be back among the claustrophobic charm of classical urns and grand sarcophagi in the basement of Sir John Soane’s Museum, or to be overcome by the pinch yourself privilege of being present at the opening of one of those V&A fashion exhibitions. It was only while trying to buy a tailored jacket in New York that I began hankering after the restrained cool of Savile Row, longed to walk through the metropolitan villages of cottage-couture, stroll from Marylebone to Mayfair taking in its heritage brands, its makers, its gorgeous narratives of craft and sourcing that connect dunhill to Dover Street Market, that traverse geography and heritage in such beautiful ways.
We do not say it enough, but there is so much about Britain’s cultural sector that is utterly unique and about which we should be profoundly proud.
It was on London’s streets that I discovered the wider UK, came to learn about the knot handloom weaving of Kilbarchan, the great Lobb shoe studios of Northampton, the varied specialists that underpin regional identity, came to understand something of the diverse and complex history of Britain’s invention and creativity. I also came to appreciate the depth of our cultural offer, from our peerless art schools to our world- leading architectural studios, from our prestige department stores to the tight-knit constellations of collectives and makers that define us. All are connected by those national creative characteristics of innovation and invention, by irreverence and revolt, by a fearless, pugnacious passion for beauty, quality and history.
And crafting a new V&A in East London is in great part driven by an acknowledgment of that heritage – siting our new institution in the heart of the demographic dynamism and cultural churn of the East London creative matrix was deliberate. We wanted to be at that catalytic frontier of national reinvention where post-Brexit narrative is being forged in the fire of young bellies. We wanted to be part of the energy that is crafting a new national story of making and manufacture, of luxury and craft, of world-class art and world-changing artisans. Let’s wrap our young in heritage, but let’s recast our nation’s understanding of itself through a lens of possibility, diversity and creative innovation. Although we face generational challenge, we should be excited, optimistic about our future. We have the chance to redefine national creative narrative, why not one of quality, excellence, diversity, luxury and opportunity? Let’s thoughtfully look backwards to go confidently forward – and do so with pride.
> Want to learn more about the importance of the cultural sector to the British luxury? Read The State of London Luxury 2024 report
Lead image by Peter Kelleher for Victoria and Albert Museum, London