1925 Wembley

This print was issued to promote the second season of the British Empire Exhibition in 1925. Designed by the artist Christopher Richard Wynne Nevinson it was used as an advertisement on buses. Nevinson's representation of all three main social classes on the poster - working class, middle class and upper class reflect's the intended inclusivity of the Exibition that was aimed at a broad audience.
The British Empire exhibitions of 1924 and 1925 were held at Wembley Park to celebrate the riches of empire. By the 1920s Britain’s imperial power was at its height and economically dependent on its colonies. Held at a time when many of those under British rule were beginning to challenge colonial exploitation the exhibitions were intended to reinforce Britain’s imperial power with a show of unity and strength. A promotional booklet produced for the first exhibition in 1924 attempted to justify the mutual benefit of British rule by stating ‘will be in effect an Imperial stocktaking and a vast window display. Those who doubt the Empire’s potentialities, and those who simply do not consider them, will be confronted with a clear sight of what this great community of free nations can produce. More important still, the possibilities which our Imperial resources hold will for the first time be made plain.’
A new Empire stadium, seen in the poster was built for the exhibitions. Covering over 200 acres, the exhibition site in Wembley included pavilions displaying the produce, industries and crafts of 56 colonies and dominions organised by the respective colonial governments. The India Pavilion was modelled on the Jama Masjid in Delhi and the Taj Mahal in Agra and contained 27 courts displaying different products as well an exhibition of Indian art. With rising anti-colonial sentiment in the 1920s, Indian nationalists called for a boycott of the exhibition. As with previous Imperial exhibitions the British Empire Exhibitions of 1924 and 1925 controversially included ‘live exhibits’ of people from the colonies. Some worked in shops and restaurants connected to their pavilions, and others sat in the displays demonstrating crafts and cultural activities. The Nigerian Pavilion where local craftspeople demonstrated metalwork and leatherwork was heavily criticised by London’s West African Student community for representing a misleading, primitive culture that ignored the industrialisation of the country.
As well as demonstrations of colonial exploitation the site included over 40 cafes and restaurants, and a number of attractions including live animal displays and a miniature train.
Promoted as family friendly events suitable for all social classes, as indicated by this poster, the exhibitions attracted a total of 25 million visitors over the two 6 month seasons.