Imagine a museum where young minds don’t just visit—they transform. That’s the vision behind V&A East, a groundbreaking new cultural hub in London’s Olympic Park, led by Gus Casely-Hayford. But here’s where it gets controversial: Can a museum truly belong to everyone, especially those who’ve historically felt excluded? Casely-Hayford believes so, and he’s on a mission to prove it.
As a child, Casely-Hayford felt museums weren’t entirely welcoming, particularly because they rarely reflected the stories of Black British people like himself. But his sister Margaret challenged him: ‘These spaces belong to all of us. You can change what they represent.’ Now, as director of V&A East, he’s turning that childhood lesson into reality. His goal? To create a space where young people can experience life-altering moments that shape their futures. And this is the part most people miss: It’s not just about art—it’s about identity, belonging, and reimagining who museums are for.
V&A East spans two ambitious sites: the V&A Storehouse, which opened in May and has already surpassed visitor targets, and the upcoming V&A East Museum, a five-storey exhibition space designed by O’Donnell & Tuomey. Slated to open on April 18 next year, it’s part of the £1.1bn East Bank cultural quarter, alongside institutions like Sadler’s Wells East and UCL East. Bold claim: This isn’t just another museum—it’s a cultural revolution aimed at historically underserved audiences.
Casely-Hayford’s approach is hands-on. Over the past five years, he’s personally visited every secondary school in the surrounding boroughs, consulting 30,000 young people to shape everything from the permanent collection to staff uniforms. The result? A museum that feels like their space, not just a relic of the past. Thought-provoking question: Can museums truly reflect the diversity of their communities without feeling tokenistic? Casely-Hayford thinks so, and he’s putting his money where his mouth is.
The museum’s permanent collection, Why We Make, features 500 objects from over 200 practitioners across 60 nations, celebrating human creativity across cultures. Highlights include a ceramic piece by Ecuadorian Guinea Spanish artist Bisila Noah and a pink dress by local designer Molly Goddard. Temporary exhibitions, like The Music Is Black, will explore 125 years of Black British music history, spotlighting icons like Stormzy and Joan Armatrading. Controversial interpretation: By centering underrepresented voices, V&A East challenges traditional museum narratives—but will it alienate some audiences in the process?
Casely-Hayford doesn’t shy away from tough questions. He’s a vocal advocate for returning looted artefacts, citing the V&A’s loan of Asante gold to Ghana as a step in the right direction. On ethical funding, however, he’s more cautious, acknowledging the complexities of corporate sponsorship. Counterpoint: While some museums dismiss criticism of corporate ties as ‘negativity,’ Casely-Hayford insists on scrupulous partnerships. But is that enough?
Born into the prominent Ghanaian-British Casely-Hayford family, Gus was inspired by his late brother Joe, a pioneering fashion designer. His career spans presenting BBC’s Lost Kingdoms of Africa, directing the Smithsonian’s National Museum of African Art, and authoring books on West African art. Emotional hook: His passion for making museums inclusive is deeply personal, rooted in his family’s legacy and his own experiences of feeling like an outsider.
V&A East, he says, is the pinnacle of his career—a chance to make museums universally accessible. Final thought-provoking question: Can institutions built on colonial legacies ever truly belong to everyone? Casely-Hayford is betting yes, and V&A East is his boldest experiment yet. What do you think? Let’s debate in the comments.
