Exhibition Photography © Luke Hayes for the Design Museum

text by Poppy Baring

Walking into this Design Museum exhibition doesn’t feel too dissimilar to walking into an indoor leisure center. After stepping down a wide white staircase and through a small corridor, you approach Splash!, a show investigating a century of swimming and style, together with the social and cultural impacts of the sport. This exhibition was designed, unsurprisingly, with swimming environments in mind. The central plinths, located in each of the rooms, which are divided into Pool, Lido, and Nature, are scale models of the three separate swimming spaces.

In the first room, Pool, these islands are models of the London Aquatic Centre and have been made from Storm Board, a recycled plastic waste that can later be remolded into different shapes. Entering this room, you are greeted by a large, bold lithograph poster that speaks to a poolside chicness that is often associated with the sport. The late 1920s poster was one of the first attempts to ‘brand’ the seaside as fashionable, bold, and modern. Seen next to this is a 1984 poster by David Hockney for the Los Angeles Olympics. A symbol of affluence and leisure, the poster celebrates California life and shows a swimmer immersed in a pool, with a pattern that mimics the one painted on Hockney’s own pool.

Overall, this room features interesting swimming treasures, namely Olympic and Paralympic swimsuits of medal winners past. The costumes and stories of Tom Daley, Yusra Mardini, and Ellie Robinson guide you down the room, where you then meet 1920s and 30s knitted swimsuits and swimwear catalogues. Labels explain the history of wool swimmers, starting in the 1920s, initially with the intention of promoting hygienic clothing, as well as magazines that advertise the “suit that changed bathing to swimming.”

Blue arrows painted on the floor then bring you into room two, Lido, which opens into a show of swimsuits and clothing. Aiming to include an extensive range of themes and topics, from architecture to fashion, politics, and fabric development, the exhibition can feel slightly overwhelming at points and sometimes, because of its broad objectives, fails to dive fully into one topic or another. The rise of mass tourism, sun protection trends, ‘homosexual activity,’ and changing beauty ideals are all discussed before you have had a chance to fully feel like you’ve entered the room. These weighty topics are paired next to swimwear-clad light blue mannequins, which don’t naturally transport you to the beach.

There are, however, a few iconic pieces that are thrilling to see in person. Pamela Anderson’s iconic 1990s red Baywatch swimsuit, seen by roughly 1.1 billion viewers weekly, is one, and a 1964 Monokini, which was designed in a statement about liberating women from hyper-sexualisation, is another. As visitors continue, swim caps from the 1970s and from Miu Miu’s 2016 collection also stand out, and the line-up of accessories from ‘bathing shoes’ to Speedos brings a sense of charming nostalgia to the show.

The third and final section of Splash! is Nature, which touches on folklore and myths associated with the sea. Century-old tales of Merfolk are addressed before discussing the niche and unexpected contemporary trend of mermaid-core. Finally, a fascinating film about the haenyeo-women of South Korea finishes the exhibition. This film brings visitors underwater with a woman who follows her mother twenty meters below sea level with no help from a breathing apparatus. This historic exploration for seafood and seaweed has been conducted by women for centuries, and is an intense but extraordinary end to a fact-filled summer exhibition.