V&A Museum London seeks Taylor Swift superfan for advisory role
Previous appointments included fans with expertise in Pokemon cards, LEGO, Gorpcore clothing, and Toby jugs
By Vibhuti PathakFeb 26, 2024
London's prestigious Victoria and Albert Museum (V&A) has announced its search for a dedicated Taylor Swift superfan to join its advisory team. The museum is on a mission to tap into the insights of passionate fans, aiming to gain a deeper understanding of specific cultural trends and expand its connection with contemporary society.
The selected superfan adviser will play a crucial role in providing expert insights into fan culture, particularly delving into the memorabilia that Taylor Swift's devoted followers, known as "Swifties," collect and create.
With a keen interest in the craftsmanship behind handmade signs, friendship bracelets, and other Swift-related artifacts, the museum is eager to establish a connection with the vibrant and creative community of Taylor Swift enthusiasts.
As part of this endeavour, the V&A museum is actively seeking a UK-based Swiftie who can share valuable knowledge about the cultural nuances surrounding Taylor Swift's music and persona. This initiative aligns with the anticipation of Swift's upcoming European tour, making it an opportune time to gather insights into the unique culture of Swift fandom.
Swifties are renowned for their tradition of exchanging friendship bracelets during the singer's concerts, creating a unique aspect of fan interaction that the museum aims to explore further.
By delving into the intricacies of fan-made crafts, the museum hopes to not only enhance its understanding of contemporary culture but also celebrate the craftsmanship and cultural significance of handmade memorabilia.
The V&A's call for a Taylor Swift superfan is part of a broader initiative to appoint "superfan advisers" with expertise in various niche subjects. In addition to Swifties, the museum is actively seeking advisers with a deep appreciation for emojis, Crocs shoes, tufting, and drag culture. These part-time, zero-hour contract positions are designed to bring grassroots expertise into the museum's curatorial teams, enriching the institution's knowledge base and staying attuned to current cultural trends.
Successful candidates for these superfan adviser positions will have the unique opportunity to meet with the museum's curatorial team, sharing their wealth of knowledge and insights.
The V&A sees these roles as a way to bridge the gap between institutional expertise and the rich, diverse experiences of fans, offering a more holistic understanding of contemporary cultural phenomena.
The V&A museum's director, Tristram Hunt, expressed the importance of these roles in celebrating the diverse and surprising creative contributions present within the museum's collections. By engaging with superfan advisers, the museum aims to learn more about design stories relevant to contemporary audiences, fostering a dynamic exchange of ideas and perspectives.
This initiative is not the first time the V&A has sought superfan advisers. Previous appointments included fans with expertise in Pokemon cards, LEGO, Gorpcore clothing, and Toby jugs. The museum's commitment to exploring niche interests reflects a broader effort to remain culturally relevant and responsive to the diverse tastes and passions of its audience.
As the museum opens its doors to superfan advisers, it envisions a collaborative and mutually enriching relationship between institutional expertise and the dedicated knowledge of fans. In the ever-evolving landscape of contemporary culture, the V&A museum is taking an innovative step towards ensuring that its collections and exhibitions resonate with the vibrant and dynamic tapestry of today's society.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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