The V&A's exhibition on British design pays homage to the country's creative spirit over the past 60 years. Photography: V&A Images

所有的目光很快就会盯上伦敦，因为今年夏天的某一项体育活动，V。

这是英国战后设计和艺术首次在如此规模上得到解决。这个故事由350多个物体(从V中提取的250件)作为支撑。

策展人吉斯莱恩·伍德(Ghislaine Wood)和克里斯托弗·布雷沃德(Christopher Breward)为展览提供了一个主题结构，而不是按时间顺序排列的结构，从“传统与现代”开始，探讨两个方面之间的紧张关系：维护英国传统和遗产，但也需要循序渐进的变革。

在这里，我们看到了推动英国的乌托邦式的乐观情绪，在重建和社会经济修复时期，由两个非常不同的战后事件-非常前瞻的1951年英国音乐节和1953年传统女王加冕典礼-所推动。

设计研究小组的英国铁路设计，玛格丽特·卡尔弗特和乔克·金尼为交通部设计的路标，以及20世纪40年代提议的哈洛和米尔顿·凯恩斯等地区新市镇法案中的模型和图纸，探讨了城市复兴的主题，而大卫·希克斯、麦克斯·克莱丁宁、大卫·梅勒和特伦斯·柯兰的一组家居设计作品则代表了20世纪50年代中产阶级日益壮大的住宅装修景象。

在展览的第二部分，“颠覆”遵循了规则-质疑上世纪60年代至90年代的英国年轻一代，特别是英国艺术学校体系以及由此产生的街头和工作室做法。随着关注英国的设计敏感性如何在时尚，时尚摄影，图形和风格，有一个展示大卫贝利，亚历山大麦昆和薇薇安韦斯特伍德的作品。

达米恩·赫斯特(Damien Hirst)的临床“药学”餐厅和彼得·萨维尔(Peter Saville)和本·凯利(Ben Kelly)的“Hacienda俱乐部”(Hacienda Club)这两家展览萨维尔的工厂记录的平面设计工作，以及罗恩阿拉德，奈杰尔科茨，马修希尔顿，贾斯珀莫里森，迈克尔杨和汤姆迪克森的明星点名，也出现。

“创新和创造力”调查了英国制造业、新技术和建筑的崛起和衰落。英国制造业的故事可以从1961年令人惊叹的捷豹E型和6米长的协和式飞机上看到，而三驾马车为施华洛世奇和物体安装的炫目的“落光”则是罗宾·戴、肯尼斯·格兰奇、詹姆斯·戴森关于技术和工艺的论述。与此同时，扎哈·哈迪德的伦敦水上运动中心、威尔金森·艾尔建筑师的薄帆桥和福斯特等高调项目

This the first time the subject of British post-war design and art has been tackled on such a scale. Photography: V&A Images

‘Antelope’ outdoor bench, designed by Ernest Race for the Festival of Britain, 1951, manufactured by Race Furniture. Photography: Victoria and Albert Museum

The narrative of the show, bolstered by over 350 objects - 250 harvested from the V&A’s archive collection - focusses on the country's key design innovations, spanning everything from fashion, furniture, fine art, graphic design, photography and ceramics, to architecture and industrial products. Photography: V&A Images

‘The Family’ by Henry Moore, 1954, in Harlow town centre. Photography: Harlow Art Trust/Henk Snoek/RIBA Library Photographs Collection, courtesy of The Henry Moore Foundation

Children crossing sign, designed by Margaret Calvert and Jock Kinneir for the Ministry of Transport, 1964. Photography: courtesy of Margaret Calvert

‘Torsion’ chair, designed and made by Brian Long, 1971. Photography: Victoria and Albert Museum, courtesy of Brian Long

Hare jewel from ‘Masquerade’, Kit Williams, 1979. Photography: Sotheby's Picture Library, courtesy of Kit Williams

In part two of the exhibition, 'Subversion' focuses on the British art school system and the street and studio practices that have come out of this. Photography: V&A Images

This section explores the British design sensibility in the areas of fashion, fashion photography, graphics and style. Photography: V&A Images

‘Double-D’ mini dress, designed and made by Foale & Tuffin, 1966. Photography: Victoria and Albert Museum

Evening gown, designed by Alexander McQueen, autumn-winter 2009. Photography: Francois Guillot/AFP/Getty Images

‘God Save the Queen’, poster promoting the Sex Pistols, designed by Jamie Reid, 1977. Photography: Jamie Reid, Victoria and Albert Museum

‘Even to spark out now would be no pain’, poster promoting the ‘Anti-Art Fair’, with a portrait of Trojan, designed by John Maybury, 1986. Photography: Victoria and Albert Museum, courtesy of John Maybury

‘Calyx’, furnishing fabric, designed by Lucienne Day, 1951, manufactured by Heal & Son. Photography: Victoria and Albert Museum, courtesy of the estate of Lucienne Day

'Innovation and Creativity' surveys the rise, then decline of British manufacturing, new technologies, and architecture. Photography: V&A Images

The story of manufacturing in Britain is seen in the likes of a 1961 Jaguar E-Type (pictured) and six-metre model of the Concorde. Photography: V&A Images

Aquatics Centre for the London 2012 Olympic Games, designed by Zaha Hadid Architects, completed 2011; shown as it will appear after the games have finished. Photography: © Zaha Hadid Architects

keywords:V&A, british design, exhibition, british designers, design innovation

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