The V&A’s fundraising bid to boost its design collection

'Bone Chaise' by Dutch design team
'Bone Chaise' by Dutch design team Joris Laarman, was acquired last year for the V&A by the Design Fund, set up in 2011 by Yana Peel. It can be viewed at the V&A's New Acquisitions Gallery
(Image credit: Joris Laarman)

Much of the most interesting and innovative contemporary design comes in small runs and is eye-wateringly expensive. Not so much of a problem if you are an oil baron or mineral multibillionaire. More of a problem if you're a cash-strapped public institution determined to collect and show contemporary design, as points out Jana Scholze, curator of contemporary furniture and product design at London's Victoria and Albert Museum. 'The market for experimental, limited-edition pieces is really strong,' she says, 'which has made it really difficult for us to collect that kind of design.'

This month's V&A Design Fund dinner, the third such event, goes a long way toward solving that problem. The Design Fund to Benefit the V&A was set up by expert fundraiser Yana Peel in 2011, after a push in that direction from London Design Festival director Ben Evans, with the aim of raising £100,000 a year from private patrons to fund new acquisitions. The design world's great and good, from Wallpaper* contributor and doyenne of design critics Alice Rawsthorn to designer Ron Arad, gathered at the V&A to break bread, admire the Amanda Levete-designed napkin rings and pledge their support in hard cash.

During the dinner Peel, in turn, praised the V&A's devotion to contemporary design. 'This growing commitment is seen throughout the museum,' she said. 'It's seen in the new section called Contemporary Architecture, Product Design and Digital, led by the celebrated curator and critic Kieran Long. It's seen in the newly opened furniture gallery that critics say has set "a new standard for bringing the collection to life".'

The latest acquisitions backed by the fund will be shown at this year's London Design Festival, which has made the V&A its spiritual home. 'What makes the V&A so special is that its design collection spans hundreds of years,' says Evans. 'Good collections evolve and change. We want to ensure that continues with a dedicated fund for contemporary design. In years to come we hope that the fund has acquired for the museum a sizeable collection that will be recognised as important in its own right.'

V&A director Martin Roth sees the fund as key to the museum's efforts to lead the debate around contemporary design: 'With the help of the Design Fund, we are placing more emphasis on collecting contemporary design objects
that exemplify current trends and innovations,' he says. 'We must continue to inform and inspire, attract new partners for debate and dialogue, and bring fresh ideas to the fore. We need to engage with a wider audience through social media and our public programme.'

Roth also identified Long and the new Contemporary Architecture, Design and Digital team as key to attracting this wider audience. 'You might say that Kieran and his team are the V&A's think tank, looking into new and exciting ways to engage with the collection and our audience, in particular on the topics of architecture/urbanism and product/digital design. We will also have great opportunities to display these objects in the V&A and beyond - from Dundee to Brazil to China.'

Last year's acquisitions include the 'Wooden Heap' drawer unit by Swiss designer Boris Dennler; 'Sofa_XXXX' by Japanese designer Yuya Ushida; and both a mould and finished version of  Joris Laarman 's 'Bone Chaise'.

Image of 'Sofa_XXXX',

Also at the gallery is Yuya Ushida's 'Sofa_XXXX', whose flexible make-up of 8,000 chopsticks enables it to contract into a chair

(Image credit: Yuya Ushida)

'Wooden Heap' drawer

Another new acquisition is the 'Wooden Heap' drawer unit by Swiss designer Boris Dennler

(Image credit: Boris Dennler)

The Design Fund dinner was held in the sculpture galleries, overlooking the John Madejski garden. Napkin rings were designed by AL_A, the architecture practice behind the V&A's extension, opening in 2016. AL_A has designed what will be the world's first porcelain courtyard as part of the project, and the napkin rings are made using waste clay from the research the practice is doing at Craven Dunnill in Stoke

The Design Fund dinner was held in the sculpture galleries

(Image credit: press)

From left: senior curator, director, founder of V&A

From left: Kieran Long, senior curator of contemporary architecture, design and digital at the V&A; V&A director Martin Roth; and Yana Peel, founder of the Design Fund to Benefit the V&A

(Image credit: press)

People are Designer, director, design critic,

Designer Ron Arad and London Design Festival director Ben Evans; design critic Alice Rawsthorn and Yana Peel

(Image credit: press)


Victoria and Albert Museum
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Rosa Bertoli was born in Udine, Italy, and now lives in London. Since 2014, she has been the Design Editor of Wallpaper*, where she oversees design content for the print and online editions, as well as special editorial projects. Through her role at Wallpaper*, she has written extensively about all areas of design. Rosa has been speaker and moderator for various design talks and conferences including London Craft Week, Maison & Objet, The Italian Cultural Institute (London), Clippings, Zaha Hadid Design, Kartell and Frieze Art Fair. Rosa has been on judging panels for the Chart Architecture Award, the Dutch Design Awards and the DesignGuild Marks. She has written for numerous English and Italian language publications, and worked as a content and communication consultant for fashion and design brands.