wes anderson: the archives | design museum

Wes Anderson at the Design Museum. Photography | Matt Alexander PA Media Assignments

When watching films such as ‘The Grand Budapest Hotel’ or ‘The Darjeeling Limited’, one doesn’t need credits to know that they are directed by Wes Anderson. That’s not only due to the distinctive characters he creates and the imaginative stories he tells, but because of a visual signature that’s simply unmistakable.

 

Design Museum CEO and Director Tim Marlow describes Anderson as an auteur “whose singular vision and attention to detail are underpinned by an acute understanding of design and craftsmanship”. That is why it makes total sense for the museum to house ‘Wes Anderson: The Archives’, which opened on Friday and runs until 26 July 2026. It’s a must-see not only for fans of the director, but those interested in cinema in general, and costume, set and prop design in particular.

Over 700 items are on display, charting three decades of creative output and many of these have never been seen by the public before. The exhibition is a collaboration between the Design Museum, La Cinémathèque française in Paris and Wes Anderson himself. Although it premiered in Paris in March, over 300 objects have been added for this iteration and the emphasis shifted to the way in which Anderson, with his trusted collaborators, designs and builds his cinematic worlds. 

Paul Schlase, Tony Revolori, Tilda Swinton and Ralph Fiennes in ‘The Grand Budapest Hotel’(2014). Courtesy of 20th Century Studios, Inc. All rights reserved.

Much like last year’s blockbuster exhibition ‘The World of Tim Burton’ (read more on that here), the format follows a broadly chronological order, from Anderson’s 1993 short ‘Bottle Rocket’ (the precursor to his first feature film of the same name), to this year’s ‘The Phoenician Scheme’. However, visitors are first treated to a fascinating glimpse of Anderson’s handwritten notebooks compiled from 1994-2020 and filled with sketches, dialogue, storyboards, influences and ideas. Co-curator Lucia Savi explains that the exhibition is comprised of two layers: what is seen on screen and the creation that happens behind-the-scenes. The latter includes notebooks, scripts, drawings, storyboards, maquettes, photographs, footage and more. 

Wes Anderson: The Archives at the Design Museum. Photography | Luke Hayes

In the next space there is a display of photographs of Anderson and long-term collaborators Owen and Luke Wilson on the set of ‘Bottle Rocket’. There are no costumes and props from this film. Anderson discovered that everything that had been made for it was owned and then sold off by the production company. From that moment onwards, he made sure to keep and take care of the items from each of his movies and has amassed thousands of pieces, which he granted the Design Museum unprecedented access to, something co-curator Johanna Agerman Ross describes as “an absolute gift… We are thrilled to be the first to dive into the archive’s full riches.”

And so, we move on to ‘Rushmore’, ‘The Royal Tenenbaums’ and subsequent films, where iconic costumes and detailed props and models can be seen up close and personal. Unusually for a filmmaker, Anderson ensures that what is seen on screen – even if it appears for just a few seconds – is a carefully conceived and meticulously crafted ‘real’ object. 

Wes Anderson: The Archives at the Design Museum. Photography | Luke Hayes

Savi tells us: “Each Wes Anderson picture plunges the viewer into a world with its own codes, motifs, references and with sumptuous and instantly recognisable sets and costumes. Every single object in a Wes Anderson film is very personal to him – they are not simply props; they are fully formed pieces of art and design that make his inventive worlds come to life.” 

This approach has resulted in Anderson working on objects beyond the cinematic realm, including for exhibition Associate Sponsor Montblanc, and the ‘SCHREIBERLING’ writing instrument that he created for the maison is on display. In green and yellow lacquer and coral-coloured resin, it’s a nod to an iconic early design and was limited to 1,969 pieces – an homage to the filmmaker’s year of birth. He has also directed two brand films for Montblanc, most recently the witty and surreal ‘Let’s Write’, set at the imaginary Montblanc Observatory High-Mountain Library. And, together, Anderson and Montblanc developed a series of bespoke writing instruments for ‘The Phoenician Scheme’. The Heritage Rouge et Noir Coral with Serpentine Clip is a recreation of a 1920s classic, while a unique Meisterstück 149 is inspired by 1950s designs.

Wes Anderson for Montblanc | The SCHREIBERLING

The exhibition has too many highlights to list, but a mention must be given to the three-metre-plus intricate model of the Grand Budapest Hotel, which was used to depict the building’s façade in the film. It was made by Atelier Simon Weisse in Berlin, who has since created miniature sets and props for all of Anderson’s films. Fun fact: the interior scenes of the hotel were actually filmed in an old department store on the German Polish border. To capture the two eras of the story, the 1960s set was built on top of the 1930s one, shot and then stripped away to reveal the latter. From this production, there are also the ‘Boy with Apple’ painting, which Anderson commissioned from artist Michael Taylor, Mendel’s cake boxes, bottles of L’Air de Panache and the Oscar-winning costumes by Milena Canonero, another of Anderson’s regular collaborators. 

Wes Anderson at the Design Museum. Photography | Matt Alexander PA Media Assignments

Other stand outs include the Fendi fur coat worn by Gwyneth Paltrow as Margot Tenenbaum and the monogrammed luggage from ‘The Darjeeling Limited’. A full wall is taken up by the whimsical vending machines from ‘Asteroid City’. At the centre of the exhibition is a section dedicated to Anderson’s stop motion films ‘Fantastic Mr. Fox’ and ‘Isle of Dogs’. One could spend hours in this space alone admiring the many magical puppets and miniature sets.

The exhibition concludes with screenings of some of Anderson’s short films, including ‘Bottle Rocket’ and ‘Hotel Chevalier’, but there are more delights beyond the exit door. At the museum’s Design Kitchen restaurant, visitors can partake of a Mendel’s themed afternoon tea. Anyone for a Courtesan au Chocolat? Yes, please.

Left: suitcases from The Darjeeling Limited. Marc Jacobs for Louis Vuitton. Print by Eric Chase Anderson. Photography Roger Do Minh, ©the Design Museum. Right: Wes Anderson Afternoon Tea at the Design Museum. Photo | Courtesy of the Design Kitchen

Wes Anderson: The Archives is at the Design Museum from 21 November 2025 – 26 July 2026. Find out more here. 

words. Huma Humayun