The Freddie Mercury exhibition at the V&A traces a life in stage costumes and splendid things

Opening on October 24th, 2026, Freddie Mercury: Splendid Things will bring the singer’s theatrical wardrobe to V&A South Kensington in London during what would have been his 80th anniversary year. Developed with Mary Austin, the exhibition examines how Freddie Mercury’s stage costumes shaped his visual identity, performances and lasting cultural legacy.

The V&A is weaving a Freddie Mercury exhibition through its galleries

The V&A will distribute the costumes across six stops in its permanent galleries, placing Mercury’s clothes in dialogue with the museum’s collections, interiors and architecture. Seven of the eight looks come from Mary Austin, Mercury’s former fiancée, close friend and confidante of 20 years.

Spanning the 1970s and 1980s, the trail follows Mercury from Queen’s early years to stadium performances and his solo career. Highlights include a monochrome ensemble worn for an early Queen performance at Imperial College and later featured on the cover of the band’s 1973 debut album, alongside the ‘Mercury Wing’ catsuit, designed by Wendy de Smet for the 1975–76 A Night at the Opera tour and immortalised in the Bohemian Rhapsody video.

Mercury’s crown and cloak, designed by Diana Moseley for the Magic Tour and worn at Queen’s final performance at Knebworth in 1986, are also featured. The exhibition follows his solo career with the costume from the Made in Heaven music video, alongside accessories and personal pieces offering a glimpse behind the stage persona.

Stage costumes as a language of performance

The exhibition treats clothing as an active part of Mercury’s artistry. Flamboyant silhouettes, theatrical accessories and precise visual codes helped him command the vast scale of stadium performances.

Award-winning designer Tom Piper has created distinct installations for each stop, using set dressing, dynamically posed mannequins, sound and lighting to evoke the atmosphere of Mercury’s performances while connecting the costumes with the V&A’s architecture and collections.

For Mercury, fashion and performance were inseparable. As Mary Austin has noted, he understood that clothing could create an image powerful enough to match the crowd and the space around him. His wardrobe charts an artist continually refining his public identity without losing its unmistakable character.