Wallace & Gromit ‘The Wrong Trousers’ © 1993 Aardman / Wallace & Gromit Ltd

“Wallace & Gromit: The Wrong Trousers turns 30!,” commemorating the 30th anniversary of Aardman Animations “Wrong Trousers” at The Cartoon Museum has become a smash hit among our past exhibitions, drawing visitors of all ages since its opening last September.  One of the highlights has been the display of the exhibit is the showcase of Wallace & Gromit memorabilia from private collectors, a testament to their enduring popularity.

Back in the 1990s, a Guardian article highlighted Wallace & Gromit as a prime example of international merchandising success, generating a staggering £50 million in annual profits. Even now, the limited edition items fly off the shelves of our museum shop. (Fun fact: Items featuring Wallace & Gromit’s mischievous house guest penguin, Feathers McGraw, in ‘The Wrong Trousers’ have outsold Gromit himself. Oh, Gromit…!) 

Merchandise plays a crucial role in Wallace & Gromit’s legacy, but the challenge lies in collecting and displaying the past 30 years of merchandise that has become increasingly rare. While contemplating this, our Marketing and Communications Officer, Khadija Osman, came across stand-up comedian and PEZ collector Luke Poulton, whom she follows on TikTok. Luke’s frequent posts about his deep fascination with Wallace & Gromit’s franchise sparked our interest, and we wasted no time reaching out to him. We were fortunate enough to borrow some pieces from Luke’s valuable collection, which has now become an integral part of our exhibition. Luke’s collection adds a personal touch to the objects, inviting visitors to imagine the connections between these cherished pieces and the countless fans who have adored the extraordinary duo over the past three decades.

We recently had a lovely chat with Luke, discussing his love for Wallace & Gromit and how his passion for collecting began.

Luke Poulton
Luke Poulton is a standup comedian who is autistic, in his comedy he tells stories about his life. He is also a massive Wallace & Gromit fan and makes online content all about his love for the iconic duo. 
TikTok https://www.tiktok.com/@veganluke
Instagram @veganluke https://www.instagram.com/veganluke/ 
Facebook https://www.facebook.com/lukepoultonstandup

What are your first memories of Wallace & Gromit? 
My Dad showed me A Grand Day Out when I was little, getting to see The Wrong Trousers and A Close Shave as they were released on television and my Dad also bought me the Wallace & Gromit modeling kit in 1995 where you could build Wallace, Gromit and Feathers McGraw.

When did you start collecting Wallace & Gromit merchandise?
I had quite a few bits as a kid and then when I was in university in 2011 I began collecting bits here and there and I’ve been collecting more ever since.

How do you manage your various collections? When you find yourself accumulating too much, what’s your approach to handling it?
I recently had a bit of a clear-out to make more space for my Wallace & Gromit collection and Aardman things too. But I also put stuff out that I really want to display and keep something in a box and will display a different item every now and again.

Could you highlight three amazing, unmissable items from your collection that are on display at the museum?
A Close Shave VHS that comes with figures, The Wrong Trousers train chase ornament, and a Wallace & Gromit photo signed by Nick Park. The A Close Shave VHS adds even more fun to the film as with these figures that came with it, you were encouraged to play along with the film and I remember having the figures when I was a kid. The Wrong Trousers train chase ornament is incredibly iconic because of how perfect that scene is and what a lot of people remember the film for. I chose the Wallace & Gromit photo because this is signed by Nick Park the creator of Wallace & Gromit and one of my favourite items I have in my collection. 

If you had a time machine, is there any Wallace & Gromit merchandise from the past that you’d love to acquire for your collection?
I’d loved to have been able to get my hands on the Bluebird sets which are very similar to Polly Pocket. They were released in 1997 and are very hard to get hold of now. Boots also released so much incredible merchandise in the 90s too including bubble baths with figures on top.

How did you feel when the museum asked to showcase your Wallace & Gromit collection?
Incredibly happy, I love Wallace & Gromit so much, and being a part of an exhibition like this is incredible.

The Wrong Trousers has been one of the most successful exhibitions the Museum has ever had. What makes Wallace & Gromit so timeless and appealing to all generations, even after over 30 years?
I think it’s the fact the films still hold up so well and children and adults can find something they love about this fantastic duo. The whole story of The Wrong Trousers still feels relevant with all the heist movies we have had and Feathers McGraw is still one of the best villains. I think it’s so popular all around the world because of its fantastic stop-motion animation. It’s also a film that has so much going on, mixes genres together, and has a story you can really invest in. I think with Wallace being the main speaking character in the first two films and other characters just being known by facial expressions the films can connect with people so easily. 

Finally, who is your favorite – Wallace or Gromit?
This is a hard question to answer because I love them both so much but I’m going to have to say Gromit. He’s such a perfect character who doesn’t say a word but gets everything across with his brilliant facial expressions.

By Haruka Katsuyama

Exhibition/Wallace & Gromit: The Wrong Trousers turns 30! is on until Tuesday, 16 April
https://www.cartoonmuseum.org/whats-on-exhibitions/event-four-53tyl

Meet Luke:
Luke will play standup comedy at our evening event , Thursday 11th of April. For more information, visit our website:
https://www.cartoonmuseum.org/whats-on-events/wallace-gromit-the-wrong-trousers-turns-30-late

Want to collect W&G goods?
If you’re interested in collecting Wallace & Gromit goods like Luke, check out our shop.
A lot of the products are currently exclusive to The Cartoon Museum, such as the limited edition print, the T-shirts, and the Lollipop. (The special thing as well was knowing that when Aardman Animations approved the products, Nick Park cast an eye over them too and helped decide between two designs!)

You can see everything here!: https://cartoonmuseum.shop/collections/wallace-gromit-30-years-of-the-wrong-trousers

Steve Bell, one of Britain’s foremost cartoonists, has spent over four decades satirising the Royal Family and public figures with his sharp wit and exaggerated portrayals, sparing no one—not even Charles III. Our latest exhibition, The Windsor Tapestry (open until 20 March), features Bell’s 28-meter tapestry inspired by the Bayeux Tapestry. Comprising 98 cartoons chronicling Charles III’s life from 1980 to 2023, it weaves a dual narrative: the modern monarchy through Charles’s lens and the creative evolution of a cartoonist dedicated to holding power to account.

The exhibition also explores Bell’s other critiques of figures, such as Margaret Thatcher, John Major, and Tony Blair, and offers a glimpse into his creative process. How does he bring his ideas to life, and what inspires his sharp, fearless style? We spoke to Bell to uncover a few more secrets behind his work.

Steve Bell
Steve Bell (born 1951) is one of the most revered figures in British cartooning. With a career spanning over 40 years, he is best known for his If… comic strip in The Guardian (1981-2021). He also has been one of the trustees of the Cartoon Museum for over 20 years and curated the ‘Drawing Life’, the display of the museum’s permanent collection in the main gallery of the new Wells Street site.

How long do you let a sketch evolve before you think “This is it”? 
Sketches tend to evolve as you’re doing them, and you have to try things out to see if they work. I came up with the Boris-as-an-arse thing in 2014 while he was still Mayor of London and I drew him as a tube train coming out of a tunnel, but I didn’t start using it regularly until five years later in 2019, just before he became Prime Minister. My caricature of him was pretty rudimentary anyway, dominated by the mop of blonde hair. Drawing him as an arse seemed to work very well after that and it saved a lot of time as it was so quick and simple when I had to draw him more frequently.

Steve Bell, “Effocracy,” The Guardian (January 2021). Image courtesy of the artist and the Cartoon Museum, London.

How do you capture ideas when they pop up unexpectedly?  
Ideas come in all sorts of ways and in all sorts of places, but usually as a result of thinking hard about what I’m trying to say. The trick is to see when something might work, and strip cartoons depend on ideas being recognisable, simple and repeatable. I always found it helpful to go to party conferences and soak it all up, take pictures and make sketches which were/are very useful later.

Portrait of Margaret Thatcher (black felt pen), Steve Bell

How do you keep track of daily topics, political events, or current affairs that you might want to use as subjects later? 
I keep track of politics by following the news and reading the papers avidly, which obviously I do less these days. I used to have Radio 4 on from 6am onwards, except when I actually had to sit down and think of something, in which case I find that most background chat and music gets in the way of thinking. When I’ve finally cracked how I’m going to do something, the Radio, or music, or, these days, an audiobook or whatever, can come back on while I get on with the finished drawing. If an idea comes unexpectedly I try to note it down in a sketchbook, or at the very least make a strong mental note so it doesn’t disappear forever.

Are there any new characters or subjects you want to portray now? 
I keep track of politics by following the news and reading the papers avidly, which obviously I do less these days. I used to have Radio 4 on from 6am onwards, except when I actually had to sit down and think of something, in which case I find that most background chat and music gets in the way of thinking. When I’ve finally cracked how I’m going to do something, the Radio, or music, or, these days, an audiobook or whatever, can come back on while I get on with the finished drawing. If an idea comes unexpectedly I try to note it down in a sketchbook, or at the very least make a strong mental note so it doesn’t disappear forever.

Steve Bell

—–

Cartoonists carefully craft striking, consistent imagery to make figures instantly recognisable and memorable. These creations go beyond humour, shaping public opinion, influencing politics, and leaving a lasting mark on our everyday life. We invite you to explore the artistry of Steve Bell and the profound impact of caricature at this exhibition.

by Haruka Katsuyama
All drawings, cartoons copyright ©Steve Bell 1977-2025- All Rights Reserved.

Exhibition Information:

Our current exhibition, The Windsor Tapestry (open until 27 March), features Bell’s cartoons spread sequentially across a 28-meter printed fabric tapestry, inspired by the Bayeux Tapestry.

References:

Belltoons – The Steve Bell Cartoons Website

https://www.belltoons.co.uk/

Steve Bell Profile (The Guardian)

https://www.theguardian.com/profile/stevebell

”Before The Boys, before Kick-Ass, before Watchmen, there was Captain Civilian.”

Have you ever dreamed of becoming a superhero? If you’re like most of us, the answer is probably yes. But while many left that dream behind in childhood, one man turned it into a reality. In 1985, young art student Steve Marchant set out to explore a bold question: What if a superhero actually existed? Proudly donning a balaclava, goggles and pink pants over a tight black costume, Steve transformed into Captain Civilian. For eight unforgettable months, he patrolled the streets of Plymouth and Dartington College, fully embracing the superhero life. Before long, some of the students began recognising him as their very own ‘hero’- they witnessed and got involved with it firsthand when there was still no internet, no X, and no TikTok—and even some were eager to join his adventure. And soon, The Captain found himself facing an arch-nemesis… Nearly 40 years later, we’ve brought him back—along with a story that’s never been told. It’s a tale of courage, hope, and laughter that will strike a chord with anyone who ever dreamed of being a hero—or even those who didn’t. Don’t miss this legendary, boldly bizarre, and daftest hero’s return!

Steve Marchant (Captain Civilian)
Steve Marchant read too many comics as a boy in Wolverhampton. After two years at art college in Devon he moved to London where he became a cartoonist, a special needs youth worker and a tutor. Since then he has combined all three in his 29-year career at The Cartoon Museum, where he is the education coordinator/tutor/occasional curator.

The very first issue of Captain Civilian from the eminent Marchant Comics Group is currently exclusive to The Cartoon Museum.

It’s a real pleasure speaking with you, Captain Civilian. What was it like putting on the hero’s costume again after all these years?
Making the video for the Heroes exhibition was the first time I’d worn the costume since, I think, 1992. Being made of nylon, I was worried it might have decayed during the years it sat in a suitcase under my bed, but it slipped on fine. And I’d forgotten how just by wearing it, your whole posture changes – shoulders back, chest out – clothes do make the man, as the saying goes.

Your “Captain Civilian” zine, now available in the Cartoon Museum Shop, tells the story of how you came to exist and be recognised in the real world as a hero.   Are there any heroes that particularly inspired you in inventing Captain Civilian?　What do you think makes a hero a hero?
What inspired me was all of the superheroes I’d grown up reading, from both Marvel and DC, and in particular the Adam West Batman from the 60s TV series. By the 80s, the Batman in the comics was quite a grim and gritty character, along with other darkly-clad anti-heroes like The Punisher. I wanted to hark back to when superheroes were more fun, I felt that this would enable better interactions with the public.

In real life, heroes don’t wear fancy costumes. Real-life heroes to me are people that put other people before themselves – nurses, doctors, teachers, carers, etc. Having said that,  next time I’m in hospital I wouldn’t mind being tended to by a nurse in a skin-tight outfit. But I suppose I’d need to be in BUPA.

“Every week, Captain Civilian took a break from patrolling with a well-earned mug of tea at the Bomb Shelter Cafe.”

What was the reaction when you stood in front of people with your superhero character and costume after all the trial and error?
As you see in the zine, the costume evolved gradually during the first few months. In its earliest stages, where I wore just tights, underpants, balaclava, goggles, and rubber boots, I got laughs and puzzlement at college (which was fine) and nervous glances from the citizens of Plymouth. They probably thought I was on my way home from a fetish club or something. That’s when I realised that I had to adopt more of the classic costume elements. Once I had a chest emblem and a cape, I was suddenly a ‘superhero’ in peoples’ eyes – or more likely a nutter who thought he was a superhero. If the latter opinion was true (and it probably was), that was okay because the whole point of what I was doing was to discover what would happen if a superhero walked among us. And yeah, that’s when people occasionally engaged with me.

“Just these two key elements turned me from being a hapless pervert into a superhero.”

Like Batman’s Joker or Spider-Man’s Green Goblin, the presence of a vicious enemy or rival makes the superhero story more fascinating (For that matter, without enemies, there can be no superheroes!). We hear that villains have appeared in your Captain Civilian world as well. How did you feel when you finally had an enemy to defeat?
The appearance of The “Orrible Phantom” was completely unexpected, and brilliant. It brought to life the aspect of the Spider-Man comics where he gets blamed for New York being plagued by super-villains, that his presence has brought them forward. A later enemy, The Bingo Master, was very much a collaboration between me and a friend of mine. And even later, I became my own villain, as you’ll eventually see.

Captain Civilian’s rival “Orrible Phantom”

In the 40 years since your days patrolling as Captain Civilian, the world of superheroes has changed, with the diversification of heroes in terms of gender, race, age, and the rise of anti-heroes, etc, (yet most of them still wear tight costumes and capes). But no matter how much times have changed, why do you think superheroes still fascinate people today?
In the 80s, superheroes were very much a niche interest. Things have changed and I think it’s largely down to the ubiquity of superheroes in films and TV over the last 25 years. That has revived the genre and taken it to the greater public. Nowadays you see people wearing superhero T-shirts, jackets, caps, everywhere you go, because they love the movies. They’ve probably never read a comic.

As an avid superhero fan for many years, what part of the ”HEROES” exhibition did you get excited about the most?
I love it all, but I got the biggest thrill from seeing all the old American Sunday newspaper strips such as Flash Gordon, Superman, Batman, and Miss Fury – I’d never heard of her but she predates Wonder Woman, she was the first female superhero. The page of Little Nemo in Slumberland is amazing.

And of course, I’m in the exhibition, which has been fun. When I suggested including Captain Civilian I was kind of half-joking, but everyone thought it was a great idea. And that led to the Captain Civilian zine, which is the first of maybe four or five I’m going to publish. Collect the set!!

Lastly, if someone wants to be a hero like you, what would you advise them to do?
Make sure you have a wee before you go out on patrol.

by Haruka Katsuyama

Captain Civilian and all related elements © and Steve Marchant 2024

Meet The Captain!
Want to meet Captain Civilian? Catch him in action at our latest exhibition, “Heroes”, where you can see him in a special video! But don’t worry—he’ll be making a REAL appearance at The Cartoon Museum soon, with issue #2 of his epic saga in print! 

And don’t forget, our exhibition HEROES: The British invasion of American comics is on until Saturday, 19 October.

This July marks The Cartoon Museum’s fifth anniversary of relocating to Wells Street, near Oxford Street. The move followed a successful £1.1 million fundraising campaign led by cartoonist and Cartoon Art Trust chairman Oliver Preston. To commemorate the anniversary of the move, I spoke to Oliver about the process and challenges.

1. Can you briefly tell us about the history of the museum leading up to 2019? 

Founded in 1989, the Cartoon Art Trust had been itinerant in its search for a home and it wasn’t until February 2006 when Prince Philip, Duke of Edinburgh, our patron, opened London’s first Cartoon Museum off Museum Street in an old dairy that we had converted on a minimal budget of £350,000. With the help of our indefatigable curator, Anita O’Brien, the museum built a nationally important collection of cartoons, caricatures, and comics, held over 50 exhibitions, developed a learning programme attended by 50,000 children and adults, and received over 420,000 visitors.

2. Why did you decide to move from Little Russell Street and why did you choose the Wells Street site?

It was September 2018 and we were facing a rent increase from £75,000 to £200,000 to renew our lease, a figure that was unaffordable and unsustainable. We were very worried about the museum’s future and had looked at alternative premises, from the stables at the Royal Hospital in Chelsea to the small mansion at Gunnersbury Park, and had registered our interest in Section 106 availability in boroughs throughout London. Then I received a call from Great Portland Estates. They explained there was a 4,000 square feet property available in Wells Street, under a Section 106 agreement, with a 25-year lease at a peppercorn rent of £1. The offer was a lifeline for us. The premises were in the basement of a new office building in Wells Street (on the site of the old Magistrates Courts) and by December we had signed the terms and accepted their offer.

3. What challenges did you face when relocating the museum, and how did you overcome them?

Relocation of the museum was a huge challenge. The space was a concrete shell in a basement with limited street frontage. Would the new location work for us? How could we design and build a new museum from scratch? How much money did we need to raise for the project? How did we propose to move a museum and its valuable collections safely, on budget, and on time to re-open within 8 months?

We selected Sam Jacobs Partnership for the design work, who had come up with a colourful and exciting proposal to meet our brief. The space needed to have permanent and temporary galleries, a museum shop, a learning studio, office space, and storage for collections. Although the space was the same size as Little Russell Street, the basement space was a challenge and we had to allow for heating and air conditioning, and meet health and safety and building controls. Our new directors Becky Jefcoate and Sarah Batten oversaw much of the building work, whilst the museum team including Alison Brown, Kate Owens and Steve Marchant organised the move of the collections. The building works were overseen by quantity surveyors and trustees raised £1,100,000 to fund the build. Amongst others, we were supported by Garfield Weston, the Hintze Family Trust, Sackler Trust, and the Clore Duffield Foundation, who funded a Clore Studio. 

4. Soon after the relocation from Little Russell Street to Wells Street the museum experienced the global pandemic. It must have been a unique challenge – how did the Covid-19 outbreak affect your plans?

On 19 March 2020 the announcement of the Covid lockdown changed everything. As a small museum with no national or local authority funding, we relied on visitor numbers and shop trading for our income – and the museum was closed, threatening our very existence. But with the help of charitable trusts, support from the National Lottery Heritage Fund and Arts Council Cultural Recovery Fund, and a crowd funder on Virgin Giving (which raised an astonishing £145,000) we raised £450,000 to secure the museum’s future. But they were terrible times for the country, and the museum. With intermittent trading, it was difficult to plan and run the museum, and most tragically we lost two of our members of staff, Alison Brown and Eduardo Camaré, which had a huge impact on staff morale.

Since then, the cost-of-living crisis has had an impact on visitor spending at the museum, and we have had to alter our expectations of the demographic of visitors since COVID-19. All museums have had to plan for less of the more elderly segment of visitors and make bigger offerings and events to a younger demographic. However, we have been particularly successful this year with our recent Wallace and Gromit exhibition, “30 Years of the Wrong Trousers”, and our current director Joe Sullivan and his team have been particularly effective with special events (including a cartoon conference) and the new Alison Brown Comics Award. 

5. Now that the museum has been relocated for five years, what do you see as the most significant accomplishments or milestones achieved during this time?

We have won a Museums and Heritage Award in 2022. Our volunteers have received several awards at the London Heritage Volunteering Awards, and our autism programme (funded by the Foyle Foundation and John Lyons Charity) won an award at the Museums and Heritage Awards in 2023. Hire of the museum premises is busy, and we have now achieved over 500,000 visitors since we opened in 2006.

6. Looking ahead, are there any upcoming projects or developments that you’re particularly excited about?

We are currently fundraising for a new curator, which the museum urgently needs to help us maintain our collections, and are planning future exhibitions.

by Haruka Katsuyama