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V&A

ANNUALREVIEW2005/6

V&A ANNUAL REVIEW 2005/6

V&ASouth KensingtonLondon SW7 2RL+44 (0)20 7942 2000

V&A Museum of ChildhoodCambridge Heath RoadLondon E2 9PA+44 (0)20 8983 5200

V&A Theatre Museum1E Tavistock StreetLondon WC2 7PR+44 (0)20 7943 4700

DESIGN BY V&A DESIGNEDITED BY MARK KILFOYLEPHOTOGRAPHY BY DAVY JONESPRINTED BY ST IVES WESTERHAM PRESS

ADDITIONAL PHOTOGRAPHY BY V&APHOTOGRAPHY STUDIO (PP. 17, 33, 35),JAMESPURSSELL.COM (VILLAGE FETE,P. 45), SHEFFIELD MILLENNIUM GALLERIES (P. 69), BUND 18, SHANGHAI (VIVIENNEWESTWOOD, P. 73), KIMBELL ART GALLERY,FORT WORTH (PALACE AND MOSQUE, P. 73)CHINESE NEW YEAR 2006

02 V&A ANNUAL REVIEW 2005/6

CONTENTS

FOREWORD 05

CREATIVE INDUSTRIES AND THE V&A 08

THE EVOLVING MUSEUM 14FUTUREPLAN 17BUILDING THE COLLECTIONS 27

DRAWING ON DESIGN 30EXHIBITIONS 33EVENTS 43LEARNING 48ONLINE 51COMMERCE 55

TEAMWORK 58V&A MUSEUM OF CHILDHOOD 61V&A THEATRE MUSEUM 65NATIONAL PARTNERS 68WORLD TIES 70V&A EXHIBITIONS ON TOUR 72SUPPORT 74

PRESS 76

APPENDICES 84PERFORMANCE 86FINANCES 87SUPPORTERS 90TRUSTEES 92

03CONTENTS

CONSERVATOR WORKING ON AN EGYPTIAN ROCK CRYSTAL CONTAINER, 975–1050, FOR THE NEW JAMEEL GALLERY OF ISLAMIC ART

05FOREWORD

FOREWORDFor the V&A, 2005/6 was another busy year, with a full and diverse programme ofexhibitions and events. The three Museum sites in London were visited by 2.2 millionpeople, and overall the V&A reached more than 14 million people worldwide.

Touring exhibitions travelled to China and Japan, America and Australia and drewmore than 900,000 visitors. The exhibition Palace and Mosque attracted recordnumbers to our partnership museum in Sheffield. A programme of evening publicevents has developed a younger audience who use the Museum in a new anddifferent way. The V&A staged the first audio podcast from a museum, and followedup its success with a video podcast. Despite financial stringencies, some importantacquisitions were made, while publications continued to enlarge the Museum’sreputation. The story of 2005/6 is colourful and wide-ranging.

The buildings themselves continue to change. FuturePlan progressed with a range of new galleries, the beautiful and popular John Madejski Garden and a new shop offthe Grand Entrance. The V&A Museum of Childhood closed for a large-scale redesignthat will update its facilities and provide new spaces for its unique collections.Unfortunately, the V&A Theatre Museum was unsuccessful in its bid for HeritageLottery funding. Subsequent consultation is determining the best way forward, withthe aim of enabling even more people to enjoy its important collections.

Increasingly recognised as the world’s leading museum of art and design, the V&Aplays an important role in showing the best of contemporary and historic design in the UK and in promoting British design internationally. If Britain is to continue tothrive as a creative nation, recognised for its flair and expertise, the design communityneeds a flagship. That is the role of the V&A, which is both a source of inspiration forartists and designers and a powerhouse for recognition of excellence both in Britainand in rapidly growing economies like China and India.

This review provides a snapshot of an exciting year. None of this could have beenachieved without dedicated hard-working staff and generous and supportive donors: our warmest thanks to them all.

Paula RidleyChairman


DIANA, PRINCESS OF WALES’‘ELVIS’ DRESS AND JACKET

07FOREWORD


CREATIVEINDUSTRIESAND THE V&A

09CREATIVE INDUSTRIES AND THE V&A

ANNA PIAGGI WITH ANDREAS KRONTHALER,VIVIENNE WESTWOOD AND JC DE CASTELBAJAC AT THE OPENING OF FASHION-OLOGY AND POPAGANDA


CREATIVE INDUSTRIES AND THE V&A

The V&A was established to inspire creativity. Its international collection of art and design was not simply to be admired – it was to be used. Professionals need the V&A, as do the many students and members of the public who visitthe galleries, use the Archive of Art and Design and participate in the Museum’s wide-ranging programme of activities. Over 30% of the Museum’s visitors say they work, teach or study in the creative industries. The V&A is the hunting ground for Britain’s design talent.

The creative economy has changed since the mid-19th century, but its intellectualframework remains essential. The V&A is well placed to use its growing collections to celebrate a vision no less relevant today. Education and inspiration drive innovation, and the Museum continues to believe that making the best of historicand contemporary design available through its exhibitions and programmes,acquisitions and commissions is an essential contribution to sustaining the country’s leading role in creative design.

The approach is global. New technologies capture the interest of audiencesworldwide. Touring exhibitions showcase British talent and build strong regional and international ties by taking the collections to audiences who might nototherwise see them. This diverse content – from the ancient Far East to Soho lastweek – shows visitors that design excellence takes its inspiration from across the globe. A platform for its many partners and projects, the twelve acres of the V&A’s encyclopedic building are a world resource for Britain.


OZWALD BOATENG’SFASHION IN MOTION


THE JOHN MADEJSKI GARDEN

15THE EVOLVING MUSEUM

THE EVOLVINGMUSEUM


FUTUREPLANFuturePlan is the V&A’s ambitiousprogramme to reinvigorate the building:restoring its architecture and opening up previously hidden spaces and vistas.It is improving visitor facilities andredisplaying the collections in a beautifuland accessible way. Since the opening of the British Galleries in 2001, some 18 projects and galleries have beencompleted, ranging from the redisplay of the Museum’s paintings collections to the reopening of the tunnel entrance.A further 13 projects will be completedbetween 2006 and 2009.

HRH the Prince of Wales opened the John Madejski Garden in July 2005.The design by Kim Wilkie Associates is a calm, elegant response to the highlyornamental facades of the surroundingbuildings. A central ellipse can be floodedto create a reflective pool of water,enlivened by water jet fountains andbands of light. With prospects forcorporate entertainment, a seasonal café and new art commissions, this light, welcoming space has revitalised the heart of the Museum, and has proved immensely popular with visitors.In September 2005, the V&A held itssecond annual party for the CreativeIndustries there, sponsored by Channel 4and hosted by Ozwald Boateng.

The Sacred Silver and Stained Glassgalleries opened in November 2005, thanksto the generosity of the A.H. Whiteleyfamily. Designed by John Ronayne, thesegalleries have been transformed, with the illuminated stained glass in four-metre-high screens by Wendy Ramshaw.Highlights include a magnificent 1705German silver monstrance depicting the

Last Supper, and a rare pair of Charles IIcommunion cups. The gallery examineschanging forms, beliefs and religiouspractice from the Middle Ages to thepresent day.

Earlier in the year, a new galleryoverlooking the Grand Entrance wasrestored in honour of William FrederickRuddock. Currently showcasing changingdisplays of sculpture, metalwork, ceramicsand glass, this new gallery will eventuallyhouse the Museum’s unrivalled collectionof European bronzes. Designed by theV&A Design Department, the spacedramatically contrasts the small-scaleobjects on display with the grandeur of the surrounding architecture.

HRH THE PRINCE OF WALES WITH KIM WILKIE

THE JOHN MADEJSKI GARDEN AT NIGHT


A new Main Shop, designed by Eva Jiricna,opened in March 2006. With extensiveuse of glass and light, the shop has beendesigned to provide a contemporary retail space for a variety of designsincluding jewellery, clothing and furnitureas well as more traditional items such as publications and cards. The centrallocation leads visitors into the Dorothyand Michael Hintze Sculpture Galleriesand towards the John Madejski Garden.

Spring 2006 saw the completion of the first phase of the new Dorothy and Michael Hintze Sculpture Galleries.Some of the greatest sculptures made for British patrons and collectors –including works by Canova, Bernini andRoubiliac – can now be seen along thesouth side of the John Madejski Garden,where the original mosaic floors havebeen restored. Phase 2, taking the storyup to the middle of the 20th century,is due for completion by the end of 2006.

The Jameel Gallery of Islamic Art opens in July 2006 to showcase highlights of the V&A’s collection of more than10,000 objects from the Middle East.Its centrepiece is the Ardabil carpet,one of the largest and finest carpets inexistence. September sees the opening of the new V&A Café which moves backto the Museum’s original refreshmentarea, the stunning Morris, Poynter andGamble Rooms. Designed by architectsMUMA, the new Café will be managed by V&A caterers, Benugo.

Forthcoming FuturePlan projects includethe V&A’s new Sackler Education Centre,scheduled to open in September 2007.Designed by Softroom, it will more thandouble the current education area. Thetwo lower floors of the Henry Cole Wing

will be opened up to create a brightand stimulating learning environment.An integral part of the Museum, thecentre will also function separately as a multipurpose arts venue, operating at times outside normal Museum hours.

The V&A’s collection of jewellery ranges from antiquity to the presentday. Designed by Eva Jiricna Architects,the new William and Judith BollingerJewellery Gallery will add a mezzaninefloor to increase display space.The displayswill explore the history, symbolism,design and craftsmanship of jewellery.Set to open in early 2008, this projectcompletes a run of recently refurbishedgalleries, including the InternationalMusic and Art Foundation Gallery ofPortrait Miniatures and the Sacred Silverand Stained Glass galleries.

The Museum’s outstanding Medieval and Renaissance collection spansexquisite gems to monumentalarchitectural pieces. The new suite of ten galleries, designed by MUMA, willopen in November 2009 east of theGrand Entrance, complementing theBritish Galleries opposite. The three levels will be connected by a new liftand stairs, vastly improving circulation in the whole south-east quadrant.A new daylit gallery will be created within the interstitial spaces between the gallery walls at the eastern end of the Museum, increasing display space by 500 square metres.


EVA JIRICNA (EVA JIRICNA ARCHITECTS) – THE MUSEUM SHOP AND THE DOROTHY AND MICHAEL HINTZE SCULPTURE GALLERIES

ANTHONY SWAIN (LEND LEASE PROJECTS) WITH OLIVER SALWAY (SOFTROOM ARCHITECTS) – THE JAMEEL GALLERY OF ISLAMIC ART

GILLIAN AND STUART MCKNIGHT (MUMA ARCHITECTS) – THE NEW CAFÉ AND THE MEDIEVAL AND RENAISSANCE GALLERIES


THE DOROTHY AND MICHAEL HINTZE SCULPTURE GALLERIES


THE SACRED SILVER AND STAINED GLASS GALLERIES


THE NEW MUSEUM SHOP


BUILDING THE COLLECTIONS

Princess Diana wore her ‘Elvis’ dress whenshe danced with John Travolta. The whitebolero jacket and silk evening gown byBritish couturier Catherine Walker arenow in the V&A, a gift to the Museum in January from the Franklin Mint. Diana’sdress was one of many new designsadded to the textiles collections in2005/6. They ranged from a Tudor wool-and-silk appliqué hanging to a group ofmedieval Islamic tapestry fragments.Contemporary fashion included a suitfrom Tom Ford’s last collection for Gucci,and an ensemble by Betty Jackson.

Some acquisitions were prompted byexhibitions. A 1920s ‘Frankfurt Kitchen’was bought for Modernism: Designing aNew World, as was a 1931 chair by GerritRietveld, thanks to the Horace GoldsmithFoundation. A tea set bearing designs by Salvador Dalí and, thanks to theAmerican Friends of the V&A, an elegantankle-length coat of black silk jersey – a collaboration between designer ElsaSchiaparelli and Surrealist artist JeanCocteau – were both purchased for theSurreal Things exhibition in 2007. Miniatureexamples of Parisian fashion weredonated for the 2007 couture exhibition.

The Museum engages with the mostcutting-edge creative industries. Newdesigns welcomed into the collectionincluded a ceramic rat by Carolein Smit;‘Lantern 2’, a large-scale, cut-paperworkimage of a window by Simon Periton; andMarilène Olvier’s ‘Self Portrait’, a print-sculpture placed in the V&A+RIBA StudyRooms. At Collect 2006 – the crafts fairorganised by the Crafts Council, and held

at the V&A in February – the Museumpurchased seven objects, including ‘MyGirl’, a porcelain figurine by Danish artistLouise Hindsgavl, and a reinforced papernecklace by Dutch artist Nel Linssen. TheV&A was also presented with ‘Cord andDiscord One’ by British ceramicist MartinSmith, which won the Sotheby’s Prize.

Three silver teapots by English designerChristopher Dresser have transformedthe V&A’s leading collection of Dressermetalwork, thanks to the generosity of John Scott and others. An exceptionalsilver-gilt cup dating from the 15thcentury was acquired through aconsortium of UK museums led by theV&A and the Ashmolean Museum.Auctions too threw up some rarities:a pair of 18th-century pistols made by the leading gunsmith of Tipu Sultan ofMysore (India), and an unusual Art Decofire basket by Charles Sargeant Jagger,purchased with the generous help of the National Art Collections Fund and the Friends of the V&A. Other importantacquisitions included the designs forKenneth Bird’s ‘Careless Talk Costs Lives’campaign, purchased with the help of theNational Art Collections Fund and others.

MINIATURE EXAMPLE OF PARISIAN HAUTE COUTURE,ABOUT 1950


1920s ‘FRANKFURT KITCHEN’ ACQUIRED FOR THE EXHIBITION MODERNISM:DESIGNING A NEW WORLD


INTERACTIVE ENVIRONMENT DESIGNED BY JASON BRUGES STUDIO AT FRIDAY LATE TRANSVISION

DRAWING ON DESIGN

31DRAWING ON DESIGN

33DRAWING ON DESIGN

EXHIBITIONSInternational Arts and Crafts (17 March –24 July 2005) was, according to theEvening Standard, ‘a brilliantly designedshow, collecting together a breathtakingrange of craftsmanship’. From the rarelyseen to celebrated pieces by William deMorgan and Charles Rennie Mackintosh,the displays showed how Arts and Craftsbecame the first British design movementto have widespread international influenceon everything from American and Russianfurniture to Japanese screens and Germanstained glass. Sponsored by Heal’s.Total attendance 116,100

Abbas Kiarostami: Visions of the Artist(28 April – 5 June 2005) invited visitors to walk through a magical Forestwithout Leaves. These ‘sculptures’of photographed tree bark were one of several works by the Iranian artistand filmmaker, whose artistry wasexplored across London. The public wasable to hear Kiarostami in conversationwith Mike Leigh. The Museum alsoexhibited a photographic sequence,Trees in Snow, and premièred Kiarostami’smultimedia version of the Shi’ite passion play, Ta’ziyeh.

In Touch Me (16 June – 29 August 2005)spectators could break that strictMuseum taboo and handle over 70%of the objects on display. The exhibitionexplored the pleasures of touch in thefabricated world, drawing out keyinnovations in science and design thatchanged the feel of things, and comparingworks from the UK, Europe, USA andJapan. Specially commissioned elementsincluded science experiments, games,an immersive sensory environmentand a 1000-piece installation by

INTERNATIONAL ARTS AND CRAFTS

ABBAS KIAROSTAMI: VISIONS OF THE ARTIST

TOUCH ME


Foundation, the National Endowmentfor the Arts, the Andy Warhol Foundationfor the Visual Arts and other donors.Total attendance 33,600

Import Export: Global Influences inContemporary Design (20 September – 4 December 2005) celebrated a range ofinternational designers based in Britain:Clements Ribeiro, Tord Boontje, EleyKishimoto, Gitta Gschwendtner, AboudSodano, Lubna Chowdhary. Before beingstaged at the V&A, Import Export touredto India, Australia and Finland, wherecompanion displays – collectively entitledGlobal Local – explored how local designwas affected by international trends.These local voices from abroad, the sortrarely shown outside their own countries,were then included at the V&A. Incollaboration with the British Council.Total attendance 40,600

‘Spellbinding’ was what the Art Reviewcalled Diane Arbus Revelations (13 October2005 – 15 January 2006). Arbus’s iconicimages of 1950s and 1960s America –where suburban lawns meet dwarvesand drag queens – have inspiredphotographers ever since. Nearly 200photographs made up the largestretrospective of Arbus’s work everassembled, and the first internationalshow of her work in over 30 years.The exhibition included rarely loanednotebooks, personal belongings andvintage prints from Arbus’s archives.Organised by the San Francisco Museumof Modern Art with the Estate of DianeArbus. Supported by The Bank of NewYork. Total attendance 75,700

POPAGANDA: The Fashion and Style of JC de Castelbajac (1 February – 1 May2006) featured a Campbell’s soup can

RichardWentworth on how mouths and lips touch objects. Organised incollaboration with the Wellcome Trust.Total attendance 22,600

Mencap Snap! Photo Competition(17 June – 7 August 2005), now in its third successful year, is open to the UK’s 1.5 million children and adults with a learning disability, theirfamilies, friends, supporters, teachers or colleagues. The winning photographsdocumented what everyday life is like for people with a learning disability.Alongside the display the V&A organisedphotography workshops specifically for people with a learning disability.

HearWear: The Future of Hearing (26 July2005 – 5 March 2006) showed howfashionably designed ‘hearwear’ couldsoon be as desirable as trendy eyewear.The innovative project aimed to changethe way people think about hearing.The Royal National Institute for the Deaf, Blueprint magazine and Wolff Olinsradically rethought the future of hearingproducts and featured daring prototypesby some of the UK’s best designers,including Ross Lovegrove, PriestmanGoode, Industrial Facility and IDEO.Estimated attendance 43,500

Between Past and Future:New Photographyand Video from China (15 September2005 – 15 January 2006) was ‘one of the most important shows of the moment’according to the Observer.Twenty-eight percent of those who saw it were visiting the V&A for the firsttime. Chinese photography and videofrom the past decade featured anenergetic, often monumental responseto the rapid changes taking place inChina. Funded by the Smart Family

35DRAWING ON DESIGN

dress, a ‘fur coat’ made of teddy bears,giant Snoopy T-shirts and inflatableponchos. Students were seen dancing in the gallery during half-term. JeanCharles de Castelbajac’s March lecturecame complete with DJ and hip-hopperformers for a Friday Late.

Anna Piaggi Fashion-ology (2 February –23 April 2006) looked at the work andwardrobe of the Italian journalist andstyle guru, Anna Piaggi. Her doppie pagine (‘double pages’) for Italian Vogueare famed for naming the latest fashiontrend. Her extensive collection of vintagecouture and designer clothing, includinggarments by Balenciaga, Dolce &Gabanna and Poiret, was framed bydrawings, photographs and testimoniesby Karl Lagerfeld, David Bailey, StephenJones, Manolo Blahnik and others.Curated and designed by the V&A/LondonCollege of Fashion Research Fellow inContemporary Fashion. Sponsored byTopshop. Total attendance 36,300

Many other exhibitions and displaysthroughout the year highlighted newideas and aspects of the collection. TrajanReel took a length of film the height ofTrajan’s Column in Rome. Commissionedby the V&A, artist Tom Gidley’s ghostlyascent was screened alongside the V&A’s well-known cast of the monument.Young architects were promoted in AJ Corus 40 Under 40, as were theirmentors in the RIBA Stirling Prizeexhibition. The annual Homes & GardensClassic Design Awards displayed the year’sbest examples of future ‘classic’ designs.V&A visitors as well as judges cast theirballots on the Museum’s voting wall andon the V&A website. The V&A ChristmasTree, designed by Kaffe Fassett, proved a much-admired seasonal treat.

IMPORT EXPORT: GLOBAL INFLUENCES IN CONTEMPORARY DESIGN

JAY JOPLING AND SAM TAYLOR-WOOD MEET GUESTS AT THE OPENING OF DIANE ARBUS REVELATIONS

POPAGANDA: THE FASHION AND STYLE OF JC DE CASTELBAJAC


BETWEEN PAST AND FUTURE:NEW PHOTOGRAPHY AND VIDEO FROM CHINA

37DRAWING ON DESIGN


DIANE ARBUS REVELATIONS

39DRAWING ON DESIGN

41DRAWING ON DESIGN

ANNA PIAGGI FASHION-OLOGY

43DRAWING ON DESIGN

EVENTSMuseum events create new opportunitiesfor visitors. To increase the diverse make-up of the V&A audience, Black HistoryMonth drew nearly 3000 participants to a range of events in October, including atalk on ‘Africa through a Lens’. The annualBig Draw met Carnival along ExhibitionRoad, where the V&A and other museumshad the street buzzing with art workshops,performance and music. Over 50 activitiesengaged an estimated 30,000 visitors.The day included African and Caribbeancommunity groups from across London ina vibrant procession of carnival costumes.

The V&A’s inclusion strategy explored‘hidden histories’ within the collectionand worked with community groups todevelop programmes that explore theirheritage. An ongoing audit of objectsrelevant to black history will support theMuseum’s commemoration of theabolition of the slave trade in 2007. Eventsfor the opening of the Sacred Silver andStained Glass galleries drew on Christianand Jewish culture via storytelling, puppetshows, a mummers’ play, music workshopsand Israeli folk dancing. Such events formpart of the Museum’s Capacity Buildingand Cultural Ownership Project, whichreceived a £1 million grant from theHeritage Lottery Fund. Diversification of the Museum workforce includesemployment opportunities for people of different backgrounds such as theInspire curatorial fellowship and theGlobal Graduates work experiencescheme for young people.

Africa 05 was celebrated across thecountry. V&A events included Africa MusicDay and an African Bazaar where 20contemporary artists exhibited and sold

new work. African community groups –Rwandan Refugee Women’s Group, TowerHamlets; Al-Hasaniya Moroccan Women’sGroup, Kensington; and a Ghanian groupfrom Tottenham – designed andmodelled traditional African weddingdresses in the Raphael gallery for AfricaFashion Day. The John Madejski Gardenwas transformed with a Marrakesh tearoom, a Dakar DJ music bar and Africanjugglers and drummers. Nearly 90% ofvisitors said the events encouragedcreativity and increased their awarenessof black and ethnic minorities.

Outreach initiatives have includedparticipation at the Lord Mayor’s Mela at Gunnersbury Park. Photographs takenat the event toured to Bangalore andChennai in India, and one was selectedfor the Schweppes Photographic PortraitPrize at the National Portrait Gallery.In January 2006, the V&A celebratedChinese New Year with an exhibition ofpaintings by Hu Jinxiong, a well-knownGuangzhou artist. Performers includedthe Shaolin Temple Monks doing Kung Fu,the Yaogu Dance Troupe of lady drummers,and some mesmerising noodle-pulling by Lou Yuk Kam. Over 14,000 peopleattended the two-day event.

The V&A Illustration Awards promotecontemporary illustration. The annualshowcase of award-winning workincludes major prizes for book, book cover and editorial illustration, plus anewly introduced category for StudentIllustrator that attracted more than 200submissions. Lectures and open daysincluded talks for Architecture Week,a symposium on Diane Arbus inDecember and one on China Live thatlooked at the relationship betweenphotography and performance art.


Friday Late is now in its sixth year. Itspopularity with both the public andindustry professionals is undiminished,with an average visitor attendance of2500. The late-night events includedAdventures in Two Dimensions celebratinghand-crafted graphics and illustrationwith Daisy de Villeneuve and othercontemporary designers. Spectreslaunched Shelley Fox’s fashion collection,choreographed specially for the Morris,Poynter and Gamble Rooms with artdirection by Showstudio. Touch This hadvisitors making plaster casts, while Art& Money presented a provocative nightwith performances by Mad for Realalongside a debate chaired by LouisaBuck. Nigerian artist Dilomprizulike,performance poet Tuggstar and Kaago,a west African troupe of dancers andmusicians, all performed at Africa 05.China set performances from artists fromBeijing alongside film screenings andinstallations. Born Free in conjunctionwith PSP (PlayStation® Portable)commissioned new work from the mostexciting figures working in interactivelighting and animation. The eveningincluded a specially commissionedliterary trail around the V&A.

The seventh year of Fashion in Motion,sponsored by Istituto Marangoni, broughtlive catwalk fashion to the beautifulbackdrop of the Raphael Court. Livetransmissions of the shows are relayed in the V&A’s Grand Entrance to theseveral thousand visitors who attend –professionals, students, celebrities, guests– in addition to 450 guests in the galleryitself. Those featured in 2005/6 includedGianfranco Ferré, Anne Valérie Hash andOzwald Boateng, who selected outfitsfrom his Spring/Summer and Givenchycollections as well as highlights from his

archive. Celebrating 20 years in fashionwith a party afterwards, Boateng said,‘It felt so good. . .I knew it was my bestwork.’The British Fashion Awards wereheld at the V&A for the second yearrunning. The V&A Fashion Award forOutstanding Lifetime Achievementwent to journalist Suzy Menkes of theInternational Herald Tribune who praisedthe V&A for setting ‘the standard so high with your brilliantly conceived and beautifully curated exhibitions’.

The Village Fete, the Museum’s highlysuccessful annual celebration of the bestof Britain’s young design talent, includedåbäke, Johnson Banks, Atelier/QuentinNewark and Michael Marriott. Displayswere surrounded by a whirl of stylish,quirky and imaginative events andgames, creating Britain’s most unusualtake on the traditional outdoor fete. Over3500 people attended over two days.

The Exhibition Road Project is a vitallyimportant scheme to animate the publicrealm in South Kensington and improvethe journey from the Undergroundstation experienced by most of the ten million who visit each year. The £35 million scheme, due for completion in 2009, has been designed by architectsDixon Jones. The project is supported bythe DCMS, Royal Borough of Kensingtonand Chelsea and Transport for London,and works closely with the ExhibitionRoad Cultural Group, in which the V&Ahas played a leading role. Events so farhave included the Exhibition Road MusicDay in June, which Time Out said was ‘not to be missed’. Over 70 multiculturalmusical acts performed to more than8000 people. Media coverage wasextensive. The event will be repeated in 2006.

45DRAWING ON DESIGN

CHINESE NEW YEAR

OZWALD BOATENG’S FASHION IN MOTION

FRIDAY LATE CHINA

FRIDAY LATE BORN FREE

FRIDAY LATE COLLAGE/REPORTAGE

CHINESE NEW YEAR

FRIDAY LATE CHINA

FRIDAY LATE CHINA


V&A ILLUSTRATION AWARDS

CHINESE NEW YEAR

FRIDAY LATE CHINA

FRIDAY LATE BORN FREE


VILLAGE FETE


PERFORMANCE ARTIST ZHU MING IN THE GAMBLE ROOM AT FRIDAY LATE CHINA

47DRAWING ON DESIGN

LEARNINGChildren and young people are thecreative industries professionals of thefuture. The V&A’s learning programmeslook to engage and delight these buddingtalents. In the summer Create! focused on 11- to 18-year-olds learning fashionillustration and garment construction.Digital design workshops linked to the Diane Arbus exhibition exploredphotomontage and digital manipulation.The half-term photo-keyring event drew1400 family visitors to use digital camerasto design a key fob. Gallery teachingsessions took a wide range of historic and cross-cultural topics to spark creativeprojects back at school.

Image and Identity continued its workwith schools and vulnerable youngpeople cared for by the children’s charityNCH. Increased self-esteem throughengagement with creative practice andmuseum collections has been significantfor many of the participants: ‘I’ve learntthat everyone’s identity and culture mixes in some way, you don’t needto be ashamed of who you are,’ said one Brentside pupil. Resource Boxes ongraphics, advertising, photojournalismand furniture design providedinspirational material for students of all ages. Linked to the NationalCurriculum, the resources are available in the Study Rooms and online.

Students in Further and Higher Educationmade up 49% of participants at V&Aconferences and symposia. Final-year BAspatial design students worked with theV&A to produce detailed design modelsfor an exhibition and set designs. Newstaff hired for the Museum’s ‘Centre ofExcellence in Teaching and Learning:

Design’ partnership with the University of Brighton, Royal College of Art and RIBAset up programmes to begin in 2006.

Inspired by. . .invited part-time adultlearners of art and design to make workinspired by the V&A collections: 20%of entrants were unemployed and 20%pensioners. The launch included fashionscreated and modelled by young people at risk of homelessness, a projectdeveloped with Capital A housingsupport, Newham. Creative workshops for people with learning difficulties andmental health service users includedtaking photographs linked to the DianeArbus and Mencap exhibitions, andwriting poems inspired by the V&Acollections. BBC Radio 4’s ‘In Touch’praised the V&A for its touch tours and object handling: among nationalmuseums the V&A has ‘the mostambitious programme. . .allowing blindand partially sighted people or disabledpeople really to integrate into themainstream of the visual experience’.The language and literacy programme foradult ESOL students (English for Speakersof Other Languages) including refugeeshelped over 1000 people in 2005/6.


PRINTS AND DRAWINGS STUDY ROOM

Design history and practice informedlectures, debates and other events foradults. Study days such as Design forKnitting in October united practisingcraftspeople with industry experts.Global Design was a public debateexamining how design crosses cultures:three quarters of participants werecreative industries practitioners.A Georgian Interior conference inNovember discussed the survival of 18th-century interior style in themodern era. The Sacred Silver conferenceincluded presentations from patrons and silversmith Rod Kelly, who made a bible cover for the V&A’s new SacredSilver and Stained Glass galleries.

Fashion Fiction, one of the Talking Designinterviews, discussed how fashion ismythologised through various forms of writing. With a focus on contemporarydebates related to the arts, Style Loungecontinued to draw in a mixture ofstudents and creative industriesprofessionals. In May, Monsieur StyleLounge discussed menswear andmasculinity. Spectacle Style Lounge at the Theatre Museum asked whatspectacle meant today. Speakers werefollowed by a cabaret that included acontortionist and a levitating magician.Specialist make-up students fromHounslow provided a side-show ofcharacters including a glamorousbearded lady.

The annual summer school offeredcourses in textile design. In spring 2006a new programme of practical art courseson Islamic and South Asian art began,teaching skills from mirror-work to mosaic.Demonstrations in the galleries revealedto visitors techniques such as reservedyeing and silver piercing. The V&A+RIBA

Architecture Partnership entered its third year with an education programmeinvestigating the relationship betweenhistoric collections and contemporaryarchitectural practice. Architecture and. . .the Moving Image brought togetherarchitects, theorists and artists to explorenew kinds of architectural communication,while an international conference,Ascribing Value, debated the value ofarchitectural drawings for architects,archivists and others.

The V&A/Royal College of Art Post-graduate Programmes in the History of Design and the Decorative Arts andConservation continue to producegraduates who take up influential roles in art and design education, curation,conservation and the creative economy.The V&A Research Department hostsfellowships with a number of schools,including the London College of Fashionand the University of the West ofEngland. Projects have included thepioneering National Electronic and VideoArchive of the Crafts, where prominentcontemporary practitioners are recordeddiscussing their work in relation to keyMuseum objects. In 2006 the V&A wasawarded ‘analogue status’ by the Arts and Humanities Research Council,a major funder of university-basedresearch, enabling it to bid independentlyin areas of intellectual urgency for thecreative industries.

Access to the Archive of Art and Designwas extended with longer opening hoursat South Kensington and Blythe House.The archive supported vocational trainingfor textile design students from ChelseaCollege of Art and others, and RoyalCollege of Art projects in practical designin collaboration with Heal’s.

49DRAWING ON DESIGN

51DRAWING ON DESIGN

ONLINETechnological advances are central to thefuture of museums. They help maintainpresent collections and speak to the rapidlyshifting demands of new audiences. Frompodcasts to interactive tile design, the V&Akept abreast of changing museum life.

The web year was formidably successful,with over 10 million visits to the V&Awebsite (compared with 6.5 million last year). There were blogs, podcasts and downloads for avid web users;interviews with contemporarypractitioners; and experiments in real-time chat with curators. Makers canupload examples of their work, a factorthat caused online ripples: ‘Get yourskates on,’ insisted a contributor to theMason Dixon weblog, ‘and go over to theVictoria and Albert Museum’s websitewhere you will see, among the preciousartefacts painstakingly cataloguedtherein, my little ole knitting.’

The V&A is a central design portal forcontact between creative communities.Artist-in-residence Sue Lawty’s blogattracted related images from NewZealand, while the International Arts and Crafts site displayed over 14,000contributors’ new tile designs. Exhibitionsites and new galleries presented theirdisplays to a wider, internationalaudience. The Diane Arbus exhibitionwebsite alone attracted more than100,000 hits. Innovative online expertiseincluded the detailed examination ofclothes, 3D modelling and a specialisedsection on pockets on the fashion pages.

The Treasury Invest to Save scheme awardedthe V&A £1.75 million to run a consortiumof ten national museums to improve the

use of material already online. Webquestsfor schools will provide guided toursthrough sites to answer curriculum-related questions. Adult learners willdevelop their own online creativejourneys. The V&A leads world museumsin web participation, with so muchmaterial on its sites created by visitors.

Technology pervades the modernmuseum. The V&A Conservation Journalis published online. Record systems assistboth internal work and external access:over 21,000 records are now available to the public through Collections Online. Digital imaging has not justrevolutionised information systems, butbecome an artform itself. The donation of 200 computer-generated artworks to the Museum via the American Friends of the V&A provided a rare array of prints,photographs and drawings from the1950s to the 1990s.

Every Object Tells a Story is an onlineventure to get the public and museumstaff to share stories about objects theytreasure. Quirky, poignant, compelling,its collection at www.everyobject.nethas grown to several thousand personalhistories. The interactive project is fundedby Culture Online as a partnershipbetween the V&A, Channel 4, Ultralaband museums in Tyne & Wear, Brighton & Hove and Birmingham. A text-messagetrail invited visitors to text via mobilephone their thoughts about V&A exhibitsdirectly to the Every Object website.The first audio podcast in a UK museumpresented museum staff talking aboutworks in the Paintings gallery. It wasfollowed by a pioneering video podcast –also the first by a UK museum – of shortfilms created in response to a nationwidecompetition to celebrate the project.


NATIONAL ART LIBRARYV&A WEBSITE WITH ONLINE FAMILY EVENTS NEWSLETTER

53DRAWING ON DESIGN

55DRAWING ON DESIGN

provides an important showcase for the Crafts Council which opened with a display of stoneware by Rupert Spira.

Licensing builds relationships with thecreative and manufacturing industries by providing design resources fromwithin the V&A archives and managingthe V&A brand commercially. Licenseddesigns find a wider market than theMuseum itself could provide. Othercommercial support to the Museum is derived from V&A Corporate Events,V&A Publications and V&A Images,who supply images to advertising and media agencies, graphic designers,publishers and magazines. A newwebsite, vandaimages.co.uk, providesaccess to an increasing number of images.

COMMERCEIn 1860 Henry Cole set out how thedisplay of art and design could benefitmanufacturing and the UK economy.‘The first result of this kind of exhibition,’he pronounced, ‘is to make the publichunger after objects; I think then they go to the china shops and say,“We do not like this or that; we have seensomething prettier at the SouthKensington Museum” and the shop-keeper, who knows his own interest,repeats that to the manufacturer, and the manufacturer, instigated by thatdemand, produces the article.’

The Museum’s trading arm, V&AEnterprises (VAE), works closely withcreative industries to draw on the V&A’s pedigree as a source of inspirationand authority in design. The V&A brand is both a financial support to the Museum and a sensitive exponentof its reputation.

The new Main Shop, designed by EvaJiricna, has delivered a flexible retail spaceappropriate to the Museum. Exquisitetextile jewellery by Japanese designersSuperNeedle is available alongside jars of sequins and beads. Ceramics by iconicModernist designer Eva Zeisal can befound as well as plasticene. The aim is to celebrate creativity in all its forms.

New ranges have been commissioned tohighlight the link between the Museum’scollections and contemporary design.Under the banner ‘Cherry on the Cake’,leading designers such as Bill Amberg,Neisha Crosland, Jonathan Saunders andTimorous Beasties have produced tiles,T-shirts, hats, belts, rings, clocks and more inspired by the V&A. The new shop


MIRROR BY GRAPHIC THOUGHT FACILITY – ONE OF A SERIES OF COMMISSIONS FOR THE NEW SHOP

57DRAWING ON DESIGN


TEAMWORK

59TEAMWORK

ARCHITECTS CARUSO ST JOHN AT THE V&A MUSEUM OF CHILDHOOD

61TEAMWORK

V&A MUSEUM OF CHILDHOOD

V&A Museums includes the V&AMuseum of Childhood in Bethnal Green,and the V&A Theatre Museum in CoventGarden. It was an exciting year for theV&A Museum of Childhood as it enteredthe second phase of its redesign andextension. The Museum closed at the end of October and is due to reopen in November 2006. Funded by theHeritage Lottery Fund and a range ofpublic and private donors, the £4.7 millionredevelopment includes a striking newfront entrance, considerably improvedvisitor facilities and access, an expandedlearning centre and several new galleries,including Moving Toys, focusing on theforces and technology that make toysmove, and Creativity, which explores the creative process.

Visitor numbers for the year wereatypical, affected as they were by theLondon bombings and the temporaryclosure of the Museum. Yet the Museum’sreach into the rest of the UK grewsignificantly. Must-have Toys, its award-winning exhibition, toured to Carlisle,Bristol, Reading and Hartlepool. It ishoped that more than 100,000 regionalvisitors will have seen the exhibitionwhen it concludes its tour in SouthShields. Khel: Toys from India also joinedthe touring programme. It travels toOldham, Hartlepool and Cheltenham in 2006/7.

In London the Museum drew on its localcreative industries talent with a hugelysuccessful contemporary art exhibition,Think & Wonder, Wonder & Think. Workfrom artists such as Lali Chetwynd and

Cornelia Parker, inspired by the Museum’scollection, was imaginatively integratedinto the permanent displays, givingchildren a more immediate approach to contemporary art. Other artist-ledprojects involved local groups includingESOL students (English for Speakers of Other Languages), young refugeesawaiting placement in mainstreameducation, Bangladeshi women, andchildren from school and homework clubs.

In the summer, the Museum joined CultureOnline to launch Playground Fun, anonline resource for children and schools.The initiative encourages children torevisit traditional playground games andcreate new ones for the site. During theschool holidays, the Museum employedyoung adults to run workshops for childrenin the Museum grounds and began a series of training sessions for teachers.During closure, the Museum’s outreachprogramme will offer daily sessionsaccommodating 30 children each toschools in east and west London. All werefully booked by January 2006 and willreach a total of 6500 pupils. Almost halfof the schools booking the sessions hadnot previously visited the Museum.

A new corporate identity for the newMuseum was launched. The name V&AMuseum of Childhood was adopted, aswas a bold new visual identity. TheMuseum also launched its new website,www.museumofchildhood.org.uk. Acrucial presence for the Museum duringits closure, the site incorporates an onlinediary about the redevelopment, regularprogress reports and images from staffand partners, a guide to the Museum’scollections, an archive of past exhibitionsand community projects, and a range of downloadable activities for children.


CHILDREN’S WORKSHOP AT THE V&A MUSEUM OF CHILDHOOD

63TEAMWORK

65TEAMWORK

V&A THEATRE MUSEUMThe V&A Theatre Museum had 166,700visitors in 2005/6. Numbers for theMuseum website rose steadily, with wellover a million visits recorded over theyear. The popular PeoplePlayUK e-learningsite was integrated into the mainMuseum website, and the Museum tookownership of the TheatreVoice website.A new interactive online News&Viewsservice was also launched.

The year saw a busy programme of newexhibitions. Glenda Jackson, Jude Law and Judi Dench were among the actorsphotographed in The Dressing Room.Celebrating Peter Brook was an evolvinginstallation asking, as Brook himselfcontinues to do:What is theatre? Hirschfeld’sBrits on Broadway gave a satirical take onBritish theatre. Oliver Messel: Making andDoing was an interactive display aboutBritain’s leading stage designer of themid-20th century. The Irving Centenarymarked the 100-year anniversary of thedeath of the great Victorian actor-manager Henry Irving. Unleashing Britainspotlit ten dramatic years that saw playssuch as Waiting for Godot and Look Backin Anger shape and shock postwar Britain.

Museum activities remained popular:guided tours, theatrical make-updemonstrations, costume workshops andspecial children’s events. The educationprogramme ran at near capacity, with16,000 bookings for school and othergroups. A successful new outreachprogramme established partnershipswith schools in Brent and Essex. Thisculminated in Awakening the Beauty,a collaboration to recreate Oliver Messel’sdrawings for Sleeping Beauty. In Novemberthe Museum launched Watching, Making,

Shaping. The project helps black andethnic minority communities examinehow their theatrical heritage has beenrecorded. Audience development alsoengaged local long-term mental healthusers, marginalised youth and visuallyimpaired and deaf young people.

Inside Theatreland continued to exploreperformance past and present. Highlightsincluded Cabaret Confidential, theComedy of Coward festival, and the Art of Tease season on burlesque. TheMuseum’s renovated Studio Theatrekicked off its first season in mid-September,with the Courtyard Theatre presentingthree popular productions. The Trial ofHenry Irving was so successful that itwill be returning with a view to attractingfurther production opportunities.TheMuseum also opened its new studyrooms at Blythe House. The relocationprovides significant improvements for public access, with all research materialsnow housed at the same location.

A major disappointment was the failureto secure Heritage Lottery funding forredevelopment of the display, educationand public amenities. This raisedquestions about the longer-termsustainability of operations in CoventGarden. The consultation documentdiscussed several options, includingrelocating the permanent displays to the main V&A building in SouthKensington, or continuing in CoventGarden in partnership with a majorperforming arts organisation such as the Royal Opera House. The Trustees are reviewing options and a decision is expected in autumn 2006.


UNLEASHING BRITAIN –JOE ORTON WORKSHOP WITH KENNETH CRANHAM AT THE V&A THEATRE MUSEUM

67TEAMWORK


NATIONAL PARTNERSThe V&A’s national work shares notonly its outstanding collections, but itsexpertise and creative contacts. While the Museum works with organisationsaround the country, it has five designatedUK partners – Birmingham Museums and Art Gallery, Brighton & Hove Galleries and Museums, Manchester City Galleries,Sheffield Galleries and Museums Trust,and Tyne & Wear Museums. With them it cooperates on exhibitions, staffdevelopment and high-profile learningprojects such as Image and Identity andEvery Object Tells a Story. Support includeschampioning acquisitions for regionalmuseums, such as the drive to purchasethe rare medieval bronze Wenlok jug for the Luton Museum, and conservingobjects in situ, such as the tapestries and furniture at Houghton Hall.

The V&A participates in SubjectSpecialist Networks across the countryranging from Japanese metalwork tocontemporary design. A recent surveyreported significant staff links with 146 UK universities and colleges, as well as 17 overseas. Conferences such as Dress and Jewellery: The Fusion of Fabric and Gem held in July 2005attracted colleagues from across thecountry. Conservation roadshows with the Royal Society of Chemists drew over400 participants in Milton Keynes andTilbury. Writing projects such as MemoryMaps, a joint MA with the University of Essex focusing on the landscape ofEssex and Suffolk, nurture tomorrow’screativity. Students will publish their work on a designated V&A website andmajor writers will be invited to respondas well to drawings, paintings andphotographs in the V&A’s collections.

Loans are a key link across the UK, takingthe collection to as wide an audience aspossible. In addition to 1778 long-termloans across the country, the year alsosaw over 800 short-term loans nationally.The specific interests of regional venueshighlight the work of artists andmanufacturers who might not otherwisebe featured, such as John Sell Cotman at the Bowes Museum and HarewoodHouse. Archival material is likewisesought to explain the creative process.For the Design Museum’s Eileen Grayretrospective, the V&A providedpreliminary sketches, designs and eveninvoices belonging to Gray. Similarly,the British Museum borrowed SamuelPalmer’s etching and engraving tools and his spectacles from the V&A. TheV&A print collection featured in anexhibition at the Royal Academy, whileother exhibition loans travelled bothnationally and internationally to TateLiverpool and elsewhere.

The Purchase Grant Fund for acquisitionsis managed by the V&A with fundingfrom the Museums, Libraries and ArchivesCouncil (MLA). The programme providesadvice as well as financial supportto museums, galleries, archives andspecialist libraries throughout Englandand Wales. The 188 grants awarded in2005/6 enabled the purchase of objectsvalued at just under £4 million. Purchasesincluded a Benjamin Britten score for the Britten-Pears Library, Aldeburgh;non-conformist silver for Gloucester City Museum; a Sean Scully painting for Abott Hall, Kendal; and a cinemaposter for Ivanhoe filmed at ChepstowCastle in 1913 for the MonmouthMuseums Service.

69TEAMWORK

NICK DODD, FADY JAMEEL,DAVID LAMMY MP AND MARK JONES AT PALACE AND MOSQUE IN SHEFFIELD


WORLD TIESThe V&A’s international strategy links the global creative economy to theworld’s leading museum of art anddesign. The Museum’s wide-ranginginternational touring exhibitions aresupported by a host of other cross-border achievements via its website,publications, loans and intellectual ties.

V&A publications, which are sold world-wide, celebrated the creative industries in 2005/6. The V&A Contemporary range examined the latest in productdesign with Electric Dreams, design forthe digital age, and Interplay, designersworking on interactive design. ResponsiveEnvironments and Transport Designwill follow, recognising the link between the V&A’s design authority and practical product design in today’smarket. Fashion publications included Nineteenth-Century Fashion in Detailand translations of Vivienne Westwoodinto Japanese, Chinese and German.Black Style also sold well internationally,while Hair and Fashion was acclaimedthroughout the design press. Prints Now: Directions and Definitions includedrecent works acquired for the V&A,often through direct contact with the artists. The Painted World surveyedthe history of painting across the V&A’s collections.

Television provided airing of a differentsort. The V&A’s Constable drawingsfeatured in Andrew Graham-Dixon’stalked-about BBC 2 series The Secret ofDrawing, while E.H. Shepard’s illustrationsfor Winnie the Pooh appeared on MTVand Nippon Television. The V&A+RIBAStudy Room featured in a Top of the ClassBBC documentary about the scheme.

Global partnerships ranged fromcollaborative exhibitions – such as Jean Bourdichon’s rare Renaissancemanuscript miniatures, displayed inconjunction with the Getty, the BritishLibrary and other major lenders – to international loans. In 2005/6,approximately 3000 V&A objects were on long- and short-term loan to 365venues throughout the world. Jewels for The Castellani & Italian ArcheologicalJewellery were shown in New York,Rome and London. Posters andphotographs for Summer of Love: Artof the Psychedelic Era travelled fromLiverpool to Frankfurt and Vienna.Kabuki Heroes on the Osaka Stage,1780–1830 contained 34 Japanesewatercolours from the V&A which were shown at the British Museumbefore touring to Osaka and Tokyo

For The Avant-garde Stage, conservatorsworked on 97 stunning costume designsand original costumes from the BalletsRusses for display in Italy. Oil sketches and watercolours by Constable, includingSalisbury Cathedral, joined works fromthe British Museum, Tate, Royal Academy,National Galleries of Scotland, ManchesterArt Gallery and Birmingham Art Galleryfor Constable: Impressions of Land, Sea and Sky at the National Gallery of Art,Canberra and Te Papa in New Zealand.

It was an intensive year for projectsinvolving China. V&A Enterprisescontributed to a forum on ‘managing and exploiting your image assets’organised by the Capital Museum,Beijing and the Guangdong Museum.In June, the V&A was the only westernmuseum represented at the opening of the China Three Gorges Museum,an impressive art, archeology, social

and historical facility in Chongqing in the southwest province of Sichuan.In September the Director travelled toBeijing with Prime Minister Tony Blairwhose visit was intended to strengthencultural links between the UK and China.

The V&A joined an international forum at the Beijing World Art Museum inOctober to look at introducing non-Chinese art to Chinese museums.In November, loans to the high-profileRoyal Academy exhibition, China: TheThree Emperors, drew attention to theV&A’s fine Qing dynasty collection.Future links include China Design Now,a major exhibition to coincide with the2008 Beijing Olympics, and History ofExpo, an exhibition drawing on the V&A’sclose connections to the internationalexhibition movement, planned with the Shanghai authorities and the Paris-based Bureau of InternationalExpositions, as part of Expo 2010.A Chinese-language visitor map andextensive web information in Chinesehave been launched for the increasingnumber of Chinese visitors to the V&A.

The year also witnessed theimplementation of the Museum’sinternational strategy with India. This is a concerted plan to ensure that bothgovernment and museums in India areaware of the V&A’s Indian collections and its staff expertise. Key partnersinclude the newly restored Bhau Daji Lad Museum, Mumbai and prospectivecollaborators include the MeherangarhFort, Jodhpur and centres of contemporarydesign in Ahmedabad and Bangalore.The V&A has arranged two exhibitions to travel to the Prince of Wales Museumin Mumbai in 2007/8 as well as a series of staff exchanges.

V&A PUBLICATIONS: INTERPLAY, ELECTRIC DREAMS,BLACK STYLE, NINETEENTH-CENTURY FASHIONIN DETAIL, HAIR AND FASHION, THE PAINTED WORLD,PRINTS NOW AND VIVIENNE WESTWOOD IN JAPANESE

RARE RENAISSANCE MINIATURESBY JEAN BOURDICHON

71TEAMWORK


V&A EXHIBITIONS ON TOUR

Increasingly the V&A is taking itscollections across the world. More than 900,000 visitors saw V&A touringexhibitions in 2005/6. The hugely popular Art Deco 1910–1939 travelled in a slightly smaller version to severalcities in Japan in 2005. Over a millionvisitors have now seen this exhibitionworldwide.

Vivienne Westwood has been seen bynearly half a million visitors overseas.Success in Australia was followed by large audiences in China and Japan. InTaipei, where it was voted Best Exhibitionin Taiwan (2005) by the magazine Artist,an amazing 145,000 visitors attended in just seven weeks. The exhibitionopened in Düsseldorf in February 2006,and will travel to Bangkok and SanFrancisco in 2006/7. International Arts and Crafts travelled to Indianapolis (‘amust see’, proclaimed the IndianapolisHerald) and San Francisco (‘a revelation’,judged the San José Mercury News).

While preparations were underway forthe new Jameel Gallery of Islamic Art,Palace and Mosque toured 120 highlightsfrom the V&A’s Islamic Middle Eastcollection. After opening at the NationalGallery of Art in Washington, theexhibition attracted nearly 100,000visitors at the Kimbell Art Gallery,Texas and Tokyo’s Setagaya Art Museum.It then travelled to the SheffieldMillennium Galleries in January 2006.‘Timely and stunning,’ said The Times,and Minister for Culture David Lammyconcluded:‘Palace and Mosque is astunning exhibition. . .This imaginative

partnership between museums hasprovided an opportunity to see piecesthat rarely leave London.’ Both the tourand new gallery were made possible by a donation from Hartwell plc, partof the Abdul Latif Jameel Group.

Sheffield was not the only UK venue forV&A exhibitions. Black British Style beganits UK tour in 2005. Looking at fashionand styling across all aspects of black life and culture in Britain over the past50 years, the exhibition was shown atManchester Art Gallery and CartwrightHall Art Gallery, Bradford. In 2006 it willtravel to Sunderland, Birmingham andLeicester. The tour has been supported by a National Touring Grant from ArtsCouncil England. Cinema India: The Artof Bollywood travelled to Leicester andSunderland. The V&A’s exhibition on the photographer Garry Fabian Miller was shown in the Mead Art Gallery,Warwickshire. The Radiant Buddha,featuring a rare bronze Indian sculptureacquired jointly with the British Museum,continued to tour the country, travellingto Leicester and Exeter.

73TEAMWORK

BLACK BRITISH STYLE IN SHEFFIELD

VIVIENNE WESTWOOD IN SHANGHAI

PALACE AND MOSQUE IN TEXAS


SUPPORTThis year has seen some remarkablesuccesses at the V&A made possible by the extraordinary generosity of oursupporters. Alongside vital funding for programming, acquisitions andscholarship, the V&A would like toacknowledge its supporters’ role inrealising the latest stages of FuturePlan.The John Madejski Garden opened in July2005; in November, the Sacred Silver andStained Glass galleries opened, thanksto the longstanding generosity of the A.H. Whiteley family. 2006 sees theopenings of the Dorothy and MichaelHintze Sculpture Galleries and the Jameel Gallery of Islamic Art. In 2007 theSackler Education Centre will open, and in 2008 the William and Judith BollingerJewellery Gallery will be complete.

With so many successes and newgalleries complete, the Museum hasshifted the focus of its fundraising to its flagship project, the Medieval andRenaissance Galleries. The V&A is gratefulto the lead donors and to the HeritageLottery Fund, which in July 2005 awardeda Stage 1 pass for £9.75 million towardsthis project.

For its work over the last year, theMuseum is indebted to charitable trusts,foundations and public-sector grant-giving bodies. The National HeritageMemorial Fund and the National ArtCollections Fund continued to help theV&A with acquisitions, including a silverbeaker from the collection of Sir ErnestCassel and designs for the Canterburyfont. Arts Council England once againassisted with a number of V&Aprogrammes, most recently with a grantfor contemporary art commissions.

Corporate sponsorship at the V&Aincreased significantly in 2005/6, withmany events attracting first-timesponsors. The Museum is very grateful to the following companies for theirsupport of our exhibitions and events:Heal’s for International Arts and Crafts;The Bank of New York for Diane ArbusRevelations; Topshop for Anna PiaggiFashion-ology; PSP (PlayStation®Portable) for the Friday Late Born Free;and Istituto Marangoni for Fashion in Motion. The Corporate Membershipscheme continues to build. Membersinclude Bloomberg, JPMorgan, Skanska,Lloyds TSB Private Banking, Ernst& Young, Baglioni Hotels, Morgan Stanley, Pearson, John Lewis, AmericanExpress, UBS and Nomura.

The Museum also benefited this yearfrom many generous legacies, and theV&A would like to take this opportunityto thank all legacy donors and theirfamilies for remembering the Museum in this way. The Museum would also liketo thank everyone who has given to theAnnual Fund, an ongoing programme of support for FuturePlan.

The role of the V&A’s membershipprogrammes is vital. Management ofV&A Membership (and the Membershipteam) moved to the DevelopmentDepartment this year and a new teamwas created, comprising Membership,Patrons, Legacies and the Annual Fund.The Museum continues to work closelywith the trustees of the Friends of theV&A, although all administration is nowin-house. The Friends of the V&A havecontinued their generous support to the Museum, funding scholarships,curatorial exchanges, displays and new acquisitions.

75TEAMWORK

Both Patrons and Members continued to enjoy a highly varied programme of events. Highlights this year includedtalks by Manolo Blahnik, William Yeoward,Lulu Guinness, Michael Palin and AntonioCarluccio and exclusive behind-the-scenesevents, including a private view of theglass collection and a rooftop tour of the Museum.

Further support in 2005 came throughthe American Friends of the V&A(AFV&A). Following its mission to fostercloser ties between Americans and the V&A, the AFV&A continues to hostevents for American supporters who wish to become more involved with theMuseum. A lecture by the curator of theforthcoming exhibition, Surreal Things,was held in June 2005, generouslysupported by the Parnassus Foundation.The programme continues with exclusiveevents in the USA and the UK forAmerican supporters.

Several large gifts in kind were receivedby the AFV&A. These included animportant collection of propagandaposters given to the American Friends by Leslie, Judith and Gabri Schreyer and Alice Schreyer Batko, and a collection of 98 contemporary silver servers fromProfessor B.S. Rabinovitch. The AFV&A also awarded grants to the V&A tosupport a variety of projects from theKiarostami Festival and the ChristopherDresser exhibition to the acquisition of a Schiaparelli coat as well as threeDresser teapots.

SILVER TEAPOT BY CHRISTOPHER DRESSER, 1879

77PRESS

PRESS

‘COMBINING RESPECT FOR THE PAST WITH A REAL SENSE OF WHAT IS NEW AND EXCITING,THE JOHN MADEJSKIGARDEN EPITOMISES THE CLARITY OF VISIONTHAT IS INCREASINGLYMAKING THE V&A ONE OF THE MOST EXCITINGMUSEUMS IN LONDON.’THE DAILY TELEGRAPHJOHN MADEJSKI GARDEN

79PRESS

‘THE BEST PLACE TO GET SUCH A COLOUR BOOST IS AT THE NEW STAINED-GLASS DISPLAY AT THEV&A.’THE EVENING STANDARDSACRED SILVER AND STAINED GLASS GALLERIES

‘AN ELEGANT, LIGHT-FLOODED ENFILADE...THE FLOOD OF LIGHTILLUMINATES THE STATUES’ FINE DETAIL...THIS ENTICING DISPLAY...WILL TELL THE STORY OF BRITISH SCULPTURE.’THE TIMESDOROTHY AND MICHAEL HINTZE SCULPTURE GALLERIES


‘THE WEALTH OF ISLAMICART TREASURES HAS BEEN OBSCURED BY THE WAR ON TERROR.A NEW EXHIBITION IS BOTH TIMELY ANDSTUNNING.’‘PALACE AND MOSQUE,THE V&A DISPLAY OFARTISTIC BRILLIANCE...WENT ON TO TEXAS AND JAPAN, DRAWINGMORE THAN 250,000VISITORS.’

‘THE V&A SHOW IS STILL A REVELATION.’THE TIMES PALACE AND MOSQUE IN SHEFFIELD

81PRESS

83PRESS

‘SOME OF THE MOSTREMARKABLE, POIGNANTAND BEGUILINGLY WEIRDPHOTOGRAPHS EVER TAKEN.’THE SUNDAY TELEGRAPHDIANE ARBUS REVELATIONS

‘AN INTERESTING SHOW,ONE THAT’S LIKELY TO OVERTURN SOMEPREJUDICES.’THE INDEPENDENTBETWEEN PAST AND FUTURE:NEW PHOTOGRAPHY AND VIDEO FROM CHINA


APPENDICES

IMPORT EXPORT: GLOBAL INFLUENCES IN CONTEMPORARY DESIGN

85APPENDICES


PERFORMANCE STATISTICSFunding Agreement performance since 2002/3 (excluding Wellington Museum)

2002/3 2003/4 2004/5 2005/6 2005/6 % of targetperformance performance performance target performance

Total number of actual 2469 2690 2472 2100 2196 105%visits to Museum sites

(excluding virtual visits) (000s)Number of children aged 330 310 365 235 251 107%15 and under attending the Museum sites

(000s)Number of children 243 284 309 119* 128 108%aged 15 and under in on- and off-site organised educational sessions

(000s)Number of UK adults aged ** ** ** 116 127 109%16 and over from lower socio-economic groups attendingthe Museum sites

(000s)Number of website visits 3038 4120 6516 10,000 11,581 116%

(user sessions)(000s)Net income from trading ** ** ** £2.785m £2.745m 99%Efficiency savings ** ** ** £2.7m £2.3m 85%

(cumulative, cash andnon-cash)

*definition of target revised in 2005/6 and categories that were previously reported were excluded**targets introduced in 2005/6 to 2007/8 Funding Agreement

The performance measures in the current Funding Agreement (2005/6to 2007/8) are shown in the table above. The Wellington Museum has been excluded for ease of comparison, although it was part of the V&A until 31 March 2004.

FINANCIAL STATEMENTIn 2005/6 the V&A recorded an operating deficit of £556,204. The deficit is larger than that anticipated for the year end due to several factors.

The July 2005 bombings in London influenced visitor numbers to the Museum ingeneral and in particular attendances for International Arts and Crafts and BetweenPast and Future: New Photography and Video from China, which were significantlybelow target. As a result, the overall performance of our retail and publicationsbusiness was disappointing. However, audiences and ticket income for Diane ArbusRevelations met their budget.

Investment in IT infrastructure and upgrades to the telephone and security systemswere the main elements of expenditure. The Museum continued its programme of rationalisation of accommodation and invested substantially in priorities such as building repairs and FuturePlan.

During the year the V&A spent £11.7m in support of FuturePlan, of which £9.2mwas financed from external funders (public and private). In 2005/6, the V&A has had to use a significant amount of its own resources to lever additional funding,but remains very concerned that expenditure still remains well below the level it ought to invest in gallery displays, visitor services, educational facilities and security. The Museum also faces serious challenges in financing the repair andmaintenance of its capital infrastructure to an appropriate level.

87APPENDICES


FINANCIAL SUMMARYFOR THE YEAR ENDED 31 MARCH 2006

Restricted and Unrestricted2005/6 2004/5

£m £m

IncomeGrant-in-aid 38.23 36.19Admissions 1.17 1.37Loans and touring exhibition fees 1.03 0.60Donations, legacies and Patrons 11.89 16.29Corporate Members 0.15 0.08Trading 7.22 8.45Investment 0.91 0.71Lottery 0.72 0.38Sponsorship 0.69 0.81Other 2.14 1.22

64.15 66.10

ExpenditureCollections, Research and National Art Library 12.25 11.13Collection Services and Exhibitions 9.36 8.62Learning and Interpretation 2.99 2.25Visitor Services and Facilities 7.71 7.48Branch museums 4.77 4.41Museum developments 5.60 9.14Projects and Estate 7.36 7.85Management and administration 5.24 5.05Fundraising and publicity 2.50 2.76Trading costs 6.93 7.57

64.71 66.25Net income for the year -0.56 -0.15

The above are extracted from unaudited draft accounts.

89APPENDICES

Income 2005/6 %

1 Grant-in-aid 602 Admissions 23 Loans and touring

exhibition fees 24 Donations, legacies

and Patrons 195 Trading 116 Investment 17 Lottery 18 Sponsorship and

Corporate Members 19 Other 3

Expenditure 2005/6 %

1 Collections, Researchand National ArtLibrary 19

2 Collection Services and Exhibitions 14

3 Learning and Interpretation 5

4 Visitor Services and Facilities 12

5 Branch museums 76 Museum developments 97 Projects and Estate 118 Management and

administration 89 Fundraising and

publicity 410 Trading costs 11

SUPPORTERSTHE V&A WOULD LIKE TO PAY SPECIAL TRIBUTE TO OUR INTERNATIONAL COUNCILFOR THEIR EXTRAORDINARY GENEROSITY

WILLIAM AND JUDITH BOLLINGERMR AND MRS EDWIN DAVIES OBEDOROTHY AND MICHAEL HINTZEMR FADY JAMEELMR MOHAMMED JAMEELMR JOHN MADEJSKI OBE DLMR AND THE HON MRS RONALD MCAULAYPAUL AND JILL RUDDOCKDR AND MRS MORTIMER SACKLERTHE RT HON SIR TIMOTHY SAINSBURY

(CHAIRMAN)DR SUSAN WEBER SOROSDR T.T. TSUI

THE V&A WOULD LIKE TO PAY SPECIAL TRIBUTETO THE FOLLOWING MAJOR BENEFACTORSFOR THEIR EXTRAORDINARY GENEROSITY

THE AMERICAN FRIENDS OF THE V&AWILLIAM AND JUDITH BOLLINGERTHE CLORE DUFFIELD FOUNDATIONMR AND MRS EDWIN DAVIES OBEDEPARTMENT FOR CULTURE, MEDIA AND SPORTSIR HARRY DJANOGLY CBETHE FRIENDS OF THE V&ATHE HEADLEY TRUSTHERITAGE LOTTERY FUNDTHE HINTZE FAMILY CHARITABLE FOUNDATIONTHE AMERICAN FRIENDS OF THE V&A THROUGH

THE GENEROSITY OF THE IRIS FOUNDATIONTHE JAMEEL FAMILYMR JOHN MADEJSKI OBE DLTHE MONUMENT TRUSTTHE ART FUNDNATIONAL HERITAGE MEMORIAL FUNDPAUL AND JILL RUDDOCKTHE DR MORTIMER AND THERESA SACKLER

FOUNDATIONSIMON SAINSBURYTHE RT HON SIR TIMOTHY SAINSBURYDR T.T. TSUIWESTON FAMILYTHE A.H. WHITELEY FAMILYTHE WOLFSON FOUNDATIONAND OTHERS WHO WISH TO REMAIN

ANONYMOUS

THE V&A WOULD LIKE TO THANK THEFOLLOWING FOR GENEROUSLY SUPPORTINGTHE MUSEUM'S ONGOING REDEVELOPMENT

JULIE AND ROBERT BRECKMANMR DANIEL KATZ MBETHE LEWIS FAMILY, IN MEMORY OF CECIL LEWISTHE MICHAEL MARKS CHARITABLE TRUSTTHE PF CHARITABLE TRUSTTHE RAYNE FOUNDATIONSALOMON OPPENHEIMER PHILANTHROPIC

FOUNDATIONTHE SWAN TRUSTAND OTHERS WHO WISH TO REMAIN

ANONYMOUS

THE V&A IS PARTICULARLY GRATEFUL TOTHOSE WHO HAVE MADE A SIGNIFICANTCONTRIBUTION TO THE MUSEUM'S WORK

DIRECTOR’S CIRCLEASCENSION UNDERWRITING LTDWILLIAM AND JUDITH BOLLINGER

JULIE AND ROBERT BRECKMANSIR RONALD AND LADY COHENCOLEFAX AND FOWLER LIMITEDDR GENEVIEVE AND MR PETER DAVIESMR DANIEL KATZ MBEMALLET & SON (ANTIQUES) LTDCHRISTINA MATTINHELLE AND HARDY MCLAINMRS PAMELA RODITIPAUL AND JILL RUDDOCKNICHOLAS AND LAVINIA WALLOPMRS GARRY WESTONPETER WILLIAMS AND HEATHER ACTONMR AND MRS RONALD W. ZEGHIBE

PATRONSLORD AND LADY ALEXANDER OF WEEDONTOBY AND KATE ANSTRUTHERMR AND MRS WILLIAM ARAHTHE HON NICHOLAS AND MRS ASSHETONMR EDGAR ASTAIRESIRDAR ALY AZIZ, THE DASHWOOD GROUPELIZABETH BARTMANJOHN V. BLOOMFIELDMR AND MRS BENJAMIN BONASGANDER & WHITE SHIPPING LTDMR AND MRS RICHARD BRIANCEDEBORAH LOEB BRICETHE BRIDGEMAN ART LIBRARYMR AND MRS PETER CADBURYMRS ALAN CAMPBELL-JOHNSONRUSS AND LINDA CARRSIMON CARTER ACCESSORIES LTDCHRISTIE’SLADY CLARKPENELOPE, VISCOUNTESS COBHAMANTHONY AND MARIETTA COLERIDGEMR DAMON AND THE HON MRS DE LASZLODEBBIE DOVEMME VIRGINIA DRABBE-SEEMANNSIR ANDREW AND LADY DUFF GORDONTHE MARCHIONESS OF DUFFERIN & AVALORD AND LADY EGREMONTGILES ELLWOOD LTDJOSCELYN FOXPRINCE AND PRINCESS FRANKOPANLORD GAVRONLADY GIBSONTHE HON PIERS AND MRS GIBSONPAUL ARTHUR GISMONDI ESQCHRIS AND DIANA GODDINGMME ALICE GOLDETMRS JANE GORDON CLARKJANET AND JIM LLOYDMR AND MRS CLIFFORD GUNDLERODERICK AND JENNY HALLMRS CHRISTOPHER HAMPSONMRS JANET HEDDLEMORVEN AND MICHAEL HELLERKATRIN BELLINGERLADY HESELTINEANDREW HOCHHAUSER QCRADHIKA HOOKWAYSIR JOSEPH HOTUNGFEDELLMA HOWARDSIMONE HYMANJAMES AND LUCILLA JOLLKENNETH JOLLEYSPHILIP AND PAMELA JOSEPHALEXANDER JUDSONMRS ELAINE F. KAUFMANMRS DIANA KAWKABANIMR AND MRS TIMOTHY KEANEYMR NAND KHEMKA AND PRINCESS JEET

NABHA KHEMKAMR AND MRS ROBERT KIME

PROFESSOR AND MRS RODNEY KINSMANMR AND MRS JAMES KIRKMANKLJM LTDKOOPMAN RARE ARTMR AND MRS MAURICE LAMBERTCHRIS AND LIZ LAPSAMR AND MRS HARRY LEUCKERTMR G. LEVINROGER H. LLOYDJANET MARTINHOLT MASSEYMR AND MRS STEPHEN MATHERMR AND MRS MICHAEL MILBURNJULIA MOIR-JONESMOMART LIMITEDMR DONALD A. MOOREDIANE MORCOMMR AND MRS WALLY OLINSS. J. PHILLIPS LIMITEDLADY PURVESGRAHAM AND JANE REDDISHTHE LADY RIDLEY OF LIDDESDALEROBERT E. RILEYMR AND MRS JAMES RITBLATADRIAN SASSOON, ESQMR AND MRS HUGH SASSOONMRS SYLVIA SCHEUERDAVID AND SOPHIE SHALITMR AND MRS TOM SHARPEMR AND MRS DAVID SILICHMR AND MRS PAUL W. SOLDATOSMR AND MRS NICHOLAS STANLEYARNOLD STEVENSONJEREMY AND MARGARET STRACHANWARREN FELSON AND LUCY SUNTHE DOWAGER LADY SWAYTHLINGMARY TALBOTSHAMINA TALYARKHANDALE THOMASSIR PAUL AND LADY JUDGEFREDERICK AND KATHRYN UHDEDAVID UREGEORGE AND PATRICIA WHITEJEREMY AND KIM WHITESTEPHEN WHITE ESQAKIKO ZEITLINMR AND MRS RAINER ZIETZAND OTHERS WHO WISH TO REMAIN

ANONYMOUS

CORPORATE PATRONSBAGLIONI HOTELSBLOOMBERGERNST & YOUNGJPMORGANLLOYDS TSB PRIVATE BANKINGSKANSKA

CORPORATE MEMBERSAMERICAN EXPRESSJOHN LEWISMORGAN STANLEYNOMURAPEARSONUBS

EXHIBITIONS AND EVENTSABBAS KIAROSTAMI: VISIONS OF THE ARTIST:IRAN HERITAGE FOUNDATIONANNA PIAGGI FASHION-OLOGY:TOPSHOPDIANE ARBUS REVELATIONS:THE BANK OF NEW YORKFASHION IN MOTION:ISTITUTO MARANGONI


FRIDAY LATE:ARTS COUNCIL ENGLANDFRIDAY LATE AFRICA 05:CALOUSTE GULBENKIAN FOUNDATIONFRIDAY LATE BORN FREE:PSP (PLAYSTATION® PORTABLE)FRIDAY LATE CHINA:RED MANSION FOUNDATIONFRIDAY LATE COLLAGE/REPORTAGE:ITALIAN CULTURAL INSTITUTETOPSHOPINTERNATIONAL ARTS AND CRAFTS:HEAL’STHE AMERICAN FRIENDS OF THE V&A

THROUGH THE GENEROSITY OF THE FIGGE FOUNDATION

AND OTHERS WHO WISH TO REMAIN ANONYMOUS

PALACE AND MOSQUE:THE JAMEEL FAMILYSTYLE AND SPLENDOUR:STATOIL UKDAILY MAIL AND GENERAL TRUST PLCJOHN AND INGER FREDRIKSENNORSKE SKOGROYAL NORWEGIAN EMBASSYESTHER AND PETER SMEDVIGMR AND MRS ABRAHAM ODFJELLAND OTHERS WHO WISH TO REMAIN

ANONYMOUSSUNDER SINGH KAPANY SIKH ARTS LECTURE:THE SIKH FOUNDATIONTOUCH ME:THE WELLCOME TRUSTTRAJAN REEL BY TOM GIDLEY:OUTSET CONTEMPORARY ART FUND

OTHER DONATIONSCHANNEL 4COSGROVE HALL FILMSHEINEKENJALJOHNNIE WALKERLAURENT-PERRIERONEWSAMSUNGSMIRNOFFTANQUERAY NO. 10 GINTOSHIBA

ACQUISITIONSTHE AMERICAN FRIENDS OF THE V&AMR GORDON BALDWINPAUL BARKERCRISTIANO BIANCHINWILLIAM AND JUDITH BOLLINGERTHE JULIE AND ROBERT BRECKMAN PRINT FUNDROBERT BRECKMAN, IN MEMORY OF JULIEDR PETER COOKSON SMITHSIMON COOPERTHE CORAL SAMUEL CHARITABLE TRUSTDAVID DAMANTMARTHA DONIACHTHE DORIS DUKE FOUNDATIONGARRY FABIAN MILLERTHE FRIENDS OF THE V&ABETTINA AND JOE GLEASONTHE AMERICAN FRIENDS OF THE V&A THROUGH

THE GENEROSITY OF MR GERALD GULOTTAELIZABETH P. HAMILTONTHE AMERICAN FRIENDS OF THE V&A THROUGH

THE GENEROSITY OF MR EDGAR HARDENLADY HOBARTPETER HODGESMR AND MRS PHILIP HODGSONBEN JANSSENS ORIENTAL ART

JAMES AND LUCILLA JOLLPEARL LAMJIM LEELONGCHAMPDAVID, IANTHE AND HELEN MACLAGANMULBERRY AND SHOWROOM DUMMIESTHE ART FUNDNATIONAL HERITAGE MEMORIAL FUNDTHE AMERICAN FRIENDS OF THE V&A THROUGH

THE GENEROSITY OF MS JUDY NOVAKDAVID NOTARIUSS. PERSAUDTHE AMERICAN FRIENDS OF THE V&A THROUGH

THE GENEROSITY OF PROFESSOR SEYMOUR RABINOVITCH

MR AND MRS STEWART RESNICKTHE AMERICAN FRIENDS OF THE V&A THROUGH

THE GENEROSITY OF LESLIE AND JUDITH SCHREYER

A PRIVATE CONSORTIUM LED BY MR JOHN S. M. SCOTT

DR JOHN SHAKESHAFTRICHARD SLEESOTHEBY’STHE HON CHARLOTTE TOWNSHENDVESSEL GALLERYMARCEL WANDERS AND CAPPELLINICATHERINE WARDMR ANTHONY WELDONTHE A.H. WHITELEY FAMILYTHE WORSHIPFUL COMPANY OF GOLDSMITHSMARIAN VOLRABAND OTHERS WHO WISH TO REMAIN

ANONYMOUS

CONSERVATIONEXECUTORS OF MR E.E. BECKETT, IN MEMORY

OF MR E.E. BECKETT AND MRS P.M. BECKETTDAILY MAIL & GENERAL TRUST PLCTHE LECHE TRUSTNATIONAL HERITAGE MEMORIAL FUNDTOSHIBA INTERNATIONAL FOUNDATION

LEARNINGARTS COUNCIL ENGLANDTHE BAND TRUSTDEPARTMENT FOR CULTURE, MEDIA AND SPORTTHE PAUL HAMLYN FOUNDATIONHERITAGE LOTTERY FUNDTHE PAUL MELLON CENTRE FOR STUDIES

IN BRITISH ART

OTHER GRANTS AND DONATIONSTHE JULIE AND ROBERT BRECKMAN BURSARYJOHN LEWISCHARLES IAN FURNISSH. GOLDIE & CO LTDMRS JANET MARCH-PENNEYTHE MUSEUMS, LIBRARIES AND ARCHIVES

COUNCILNEHRU TRUST FOUNDATIONTHE WELLCOME TRUSTANDREW WISEMANV&A ILLUSTRATION AWARDS:THE ENID LINDER FOUNDATIONTHE WARNE CURATORSHIP FOR

CHILDREN’S LITERATURE:FREDERICK WARNE & CO.AND OTHERS WHO WISH TO REMAIN

ANONYMOUS

V&A MUSEUM OF CHILDHOODABN AMRO BANK N.V.ALDGATE AND ALLHALLOWS BARKING

EXHIBITION FOUNDATIONTHE BRIDGE HOUSE TRUST

BRITISH TOY & HOBBY ASSOCIATIONCATKIN PUSSYWILLOW CHARITABLE TRUSTTHE CLORE DUFFIELD FOUNDATIONTHE AMERICAN FRIENDS OF THE V&A THROUGH

THE GENEROSITY OF ROBERT FREIDUSTHE FRIENDS OF THE V&ATHE GLASS-HOUSE TRUSTNICHOLAS AND JUDITH GOODISONTHE HEADLEY TRUSTTHE HELEN HAMLYN TRUSTTHE PAUL HAMLYN FOUNDATIONHERITAGE LOTTERY FUNDJPMORGAN FOUNDATIONSLEARNTHINGS LTDTHE MICHAEL MARKS CHARITABLE TRUSTOLD POSSUM’S PRACTICAL TRUSTWESTON FAMILYAND OTHERS WHO WISH TO REMAIN

ANONYMOUS

V&A THEATRE MUSEUMJONATHAN ALTARASNOEL COWARD FOUNDATIONHERITAGE LOTTERY FUNDMUSEUMS, LIBRARIES AND ARCHIVES COUNCILJACK READINGCHRISTOPHER REYNOLDSSOCIETY OF LONDON THEATREWESTMINSTER ARTS COUNCILANDREW WHITLAW

THE V&A IS MOST GRATEFUL TO THE TRUSTEESOF THE AMERICAN FRIENDS OF THE V&A FORTHEIR VALUABLE COMMITMENT AND SUPPORT

MS CAROL BOULANGERMRS FRANCES DOWNINGAMBASSADOR EDWARD ELSON AND

MRS SUZANNE ELSONMRS AUDREY M. GRUSSMR MICHAEL LYNTONMRS DIANA QUASHAMRS MARY RENDALLMR PAUL RUDDOCKMR LESLIE SCHREYERMR ANDREW SOLOMONDR SUSAN WEBER SOROSMRS ELEANOR TAFFNERWILLARD TAYLOR ESQLADY JUDITH OGDEN THOMSONDR UTE WARTENBERG KAGANMRS DEEDEE WIGMORE

INTERNATIONAL AMBASSADORS GROUPTHE HON DAVID BERNSTEINPENELOPE, VISCOUNTESS COBHAMAMBASSADOR EDWARD ELSONMR JEREMY GARFIELD-DAVIESMR DANIEL KATZ MBEDAVID LAWS ESQMRS DANIELLA LUXEMBOURGMR MICHAEL LYNTONMR JAMES MILLERLADY RITBLATMRS BETH RUDIN DEWOODYMR LESLIE SCHREYERMRS CAROL SEGALMR ANDREW SOLOMONMS MICHELE TOCCIDR SANTO VERSACEANDREAS WHITTAM SMITH ESQ

91APPENDICES


BOARD OF TRUSTEESBoard of Trustees of the V&A 2005/6

Paula Ridley (Chairman)Jonathan AltarasProfessor Margaret BuckRob DickinsProfessor Sir Christopher FraylingJane Gordon ClarkBetty JacksonProfessor Lisa JardineRick MatherPeter RogersPaul RuddockThe Rt Hon Sir Timothy SainsburyDame Marjorie ScardinoSamir Shah

DirectorMark Jones

V&ASouth KensingtonLondon SW7 2RL+44 (0)20 7942 2000

V&A Museum of ChildhoodCambridge Heath RoadLondon E2 9PA+44 (0)20 8983 5200

V&A Theatre Museum1E Tavistock StreetLondon WC2 7PR+44 (0)20 7943 4700

DESIGN BY V&A DESIGNEDITED BY MARK KILFOYLEPHOTOGRAPHY BY DAVY JONESPRINTED BY ST IVES WESTERHAM PRESS

ADDITIONAL PHOTOGRAPHY BY V&APHOTOGRAPHY STUDIO (PP. 17, 33, 35),JAMESPURSSELL.COM (VILLAGE FETE,P. 45), SHEFFIELD MILLENNIUM GALLERIES (P. 69), BUND 18, SHANGHAI (VIVIENNEWESTWOOD, P. 73), KIMBELL ART GALLERY,FORT WORTH (PALACE AND MOSQUE, P. 73)CHINESE NEW YEAR 2006

V&A

ANNUALREVIEW2005/6


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