When I first heard that Alan Cumming had submitted his Traitors US outfit to the V&A Dundee’s Scottish design display, I couldn’t help but smile. It’s such a quintessentially Alan Cumming move—bold, theatrical, and unapologetically Scottish. But what makes this particularly fascinating is how it encapsulates a broader conversation about identity, tradition, and the evolving narrative of Scottish design. Personally, I think this isn’t just about a costume; it’s about how we define ourselves through the objects we create and cherish.
The Costume as a Cultural Statement
Let’s talk about the outfit itself. Designed by Siobhan Mackenzie in collaboration with Sam Spector, it’s a masterpiece of symbolism. The tartan chest plate, the crystal sgian dubh knife, the sweeping metallic red silk—it’s all there, blending tradition with modernity. What many people don’t realize is that tartan itself is a deeply contested symbol in Scottish history, often romanticized but also tied to colonial and political narratives. By wearing this on a global stage like The Traitors US, Cumming is essentially saying, ‘This is what Scotland looks like today—bold, unapologetic, and unafraid to reinvent itself.’
In my opinion, this outfit is more than just a costume; it’s a cultural statement. It challenges the idea that Scottish design is stuck in the past, with kilts and bagpipes. Instead, it’s a reminder that Scotland’s identity is fluid, constantly being reshaped by its people. And let’s not forget Lala, Cumming’s dog, whose matching outfit adds a layer of whimsy that feels so inherently Scottish—a blend of seriousness and playfulness.
V&A Dundee’s Bold Vision
The V&A Dundee’s call for personal objects to shape its 2028 Scottish Design Galleries is, in my view, a stroke of genius. It’s not just about curating a museum; it’s about democratizing the narrative of Scottish design. What this really suggests is that museums don’t have to be static repositories of the past; they can be living, breathing spaces that reflect the people they serve.
One thing that immediately stands out is the museum’s emphasis on personal stories. Leonie Bell, the director, asks, ‘How does the object make you feel? What memories does it bring back?’ This raises a deeper question: Can an object truly capture the essence of a culture, or is it the stories we attach to it that give it meaning? Personally, I think it’s the latter. A tartan scarf isn’t just a piece of fabric; it’s a connection to a grandmother, a childhood memory, or a sense of belonging.
What’s also interesting is the timing of this initiative. With £2.6 million in funding and a community panel co-curating the exhibit, the V&A Dundee is positioning itself as a hub for contemporary Scottish identity. If you take a step back and think about it, this is a museum actively trying to redefine what it means to be Scottish in the 21st century. That’s not just ambitious—it’s revolutionary.
The Broader Implications
This initiative isn’t just about Scotland; it’s part of a global trend where museums are rethinking their role in society. From the Smithsonian’s crowdsourced exhibits to the British Museum’s focus on decolonization, institutions are recognizing that their collections should reflect the diversity of the communities they serve. What makes the V&A Dundee’s approach unique, though, is its focus on design as a lens for identity.
A detail that I find especially interesting is the inclusion of everyday objects—clothing, souvenirs, family keepsakes. This isn’t about showcasing the grand or the expensive; it’s about the ordinary made extraordinary through personal meaning. In a world where we’re constantly bombarded with images of perfection, there’s something deeply humanizing about celebrating the mundane.
The Future of Scottish Design
Looking ahead, I can’t help but wonder what this means for the future of Scottish design. If the V&A Dundee’s galleries are shaped by the people, will we see a shift away from traditional tartans and toward more experimental, diverse expressions of Scottishness? Will designers like Siobhan Mackenzie become the new face of Scottish design, blending heritage with innovation?
From my perspective, the answer is yes. Scotland has always been a nation of storytellers, and design is just another way of telling those stories. By inviting the public to contribute, the V&A Dundee isn’t just preserving history—it’s creating it. And that, to me, is what makes this initiative so exciting.
Final Thoughts
As I reflect on Alan Cumming’s submission and the V&A Dundee’s vision, I’m struck by how much this is about more than just design. It’s about identity, community, and the power of storytelling. Personally, I think this is a moment for Scotland to redefine itself on its own terms, not through the lens of outsiders but through the objects and stories of its people.
So, what would I submit to the V&A Dundee? Probably my grandmother’s tartan shawl, frayed at the edges but still vibrant. It’s not glamorous, but it’s mine. And in that, it tells a story of Scotland that’s as complex and beautiful as the nation itself. What about you? What object would you choose, and what story would it tell?
