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More than 300 objects have been drawn from the V&A collections and elsewhere with the aim of showing how designers born, trained and working in the UK have been at the forefront of post-war and contemporary design.
A model wears Alexander McQueen during the autumn/winter 2009 ready-to-wear collection show in Paris,
FRANCOIS GUILLOT/AFP/Getty Images
From the nostalgic decadence of the Jaguar E-type and the cetacean curves of the London 2012 Aquatics Centre to posters promoting the Sex Pistols and Robin Day's Polyprop Chair, this rich, eclectic exhibition will explore themes of tradition, modernity, subversion and innovation.
What the critics say
The fact that the gallery is prepared to look beyond Watts, though, and consider wider aspects of 19th-century British art, is testament to its ambition
There is much to enjoy but a shrewder selection would have made for a better show.
This is a rich and thought-provoking exhibition.
This is a great show, an absorbing, exhausting show.
The Royal Academy has mounted such events before, collaborating with other museums in America and Scandinavia. But From Paris is by far the best.
The Tanks are, in their best moments, a step towards such active forms of thinking.
At its best it shows things that are just plain beautiful
Despite its compendious character, this thoughtfully curated show is more than a mere anthology.
The show is a kind of British identity parade, a magpie's nest of evolving ideas about living, hoping, imagining, wanting, and getting