Imagine a museum where young people walk in and their lives are forever changed. That’s the bold vision behind V&A East, a groundbreaking new cultural hub designed to captivate Gen Z. But here’s where it gets controversial: can a museum truly belong to everyone, especially those who’ve historically felt excluded? Gus Casely-Hayford, director of V&A East, believes it can—and he’s on a mission to prove it.
Casely-Hayford’s journey began as a child when his sister, Margaret, dragged him to the British Museum. Back then, museums weren’t exactly his favorite places. ‘I was drawn to them,’ he recalls, ‘but I never felt entirely welcome.’ The stories of Black British people like him were rarely told. Yet, Margaret’s words stuck with him: ‘These spaces belong to all of us. If they don’t tell our stories, you can change that.’ Now, decades later, he’s turning that promise into reality.
V&A East isn’t just another museum—it’s a revolution. Spread across two sites in London’s Olympic Park, the project includes the V&A Storehouse, which opened in May and has already smashed visitor targets, and the V&A East Museum, a five-storey exhibition space designed by O’Donnell & Tuomey. The goal? To make the V&A’s collection accessible to audiences historically underserved by cultural institutions. ‘We’re reimagining how museums connect with people,’ says V&A director Tristram Hunt. And this is the part most people miss: it’s not just about art—it’s about representation, identity, and social justice.
After years of delays—blamed on the pandemic, labor shortages, and the sheer complexity of the project—the museum will finally open its doors on April 18, 2025. It’s a cornerstone of East Bank, London’s £1.1bn cultural and education quarter, alongside institutions like Sadler’s Wells East and UCL East. But what’s V&A East’s slice of the funding pie? Casely-Hayford calls it ‘very generous,’ though the specifics remain under wraps.
When you meet Casely-Hayford at the V&A Storehouse, his passion is infectious. Surrounded by football shirts, bikes, and vases crafted by local students, he explains his vision: to create a space where young, creatively minded individuals feel at home. ‘East London is the perfect place,’ he says. ‘It’s a hub of creativity, home to legends like Alexander McQueen and David Bailey.’ But here’s the twist: he’s not just celebrating past icons—he’s determined to uncover the next generation of talent. ‘So many young people are bursting with creativity,’ he notes, ‘but museums often feel alienating.’
To bridge this gap, Casely-Hayford has spent the past five years visiting every secondary school in the surrounding boroughs. The broader project has consulted 30,000 young people, shaping everything from the permanent collection to the staff uniforms—burgundy waistcoats with customizable cinched backs. ‘This space belongs to them,’ he emphasizes. ‘Their voices are at the heart of everything we do.’
So, what’s on display? The permanent collection, titled ‘Why We Make’, explores humanity’s innate drive to create. Featuring 500 objects from over 200 practitioners across 60 nations, it includes an ‘exquisite’ ceramic piece by Bisila Noah, a pink dress by Molly Goddard, and textiles by Althea McNish. ‘It’s a celebration of human creativity in all its forms,’ Casely-Hayford says. And yes, it’s unapologetically diverse. ‘If museums aren’t striving for inclusivity, what are they even for?’ he challenges.
Temporary exhibitions will push boundaries too. The first, ‘The Music Is Black’, traces 125 years of Black British music, from calypso to drill, featuring icons like Stormzy, Shirley Bassey, and Joan Armatrading. But here’s the question: can a museum truly tackle complex issues like representation and ethical funding? Casely-Hayford thinks so. He’s proud of the V&A’s efforts to return looted artifacts, like those loaned to Ghana, though he admits, ‘We’re limited by statute—it’s a loan, not a permanent return.’
On ethical funding, he’s less definitive. With corporate sponsorship funding some exhibitions, how does V&A East navigate partnerships with companies accused of environmental harm? ‘It’s a concern for all museums,’ he admits. ‘We must be scrupulous about who we work with.’
Casely-Hayford’s own background adds depth to his mission. A descendant of JE Casely-Hayford, a 19th-century advocate for pan-African nationalism, he comes from a family of high achievers. His sister was a university chancellor, his brother a BBC producer, and another brother, Joe, a pioneering fashion designer whose work was celebrated at Somerset House. ‘Joe was my inspiration,’ he says, his voice softening. ‘Every art book on my shelf is a gift from him.’
With a career spanning the BBC, the Smithsonian, and now V&A East, Casely-Hayford has always pushed boundaries. His 2005 project, Africa 05, brought 150 cultural institutions together to celebrate African history—a feat he calls ‘impossible, but we did it.’ Now, he sees V&A East as his greatest project yet. ‘Museums are repositories of humanity’s finest impulses,’ he says. ‘They’re not just about the past—they’re about shaping the future.’
But here’s the final question: Can V&A East truly live up to its promise? Can it redefine what a museum can be? Casely-Hayford thinks so—and he’s inviting everyone, especially the skeptics, to come and see for themselves. What do you think? Is this the future of museums, or just another ambitious project? Let the debate begin.
