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Museum of Science and Industry and the Museum of Natural History) and that of new art schools around the country dedicated to training in the applied arts. It gave British design a new imprimatur of prestige. Great Britain arguably succeeded in demonstrating that technology, particularly its own, was the key to a better future after decades of political and social upheaval in Europe. The great lesson of the Great Exhibition is that good design, far from being an extraneous luxury, is in fact the sometimes unseen hand that drives national economies. Six million people visited; 186,000 pounds were raised. The financial and popular success of the Great Exhibition spoke for itself: design is for everyone. The consumption, say, of a wonderfully patterned carpet is not unrelated to the invention, then revolutionary, of moving machinery for spinning and weaving textiles. The 2014 ICFF reiterated this lesson: the presentation of new technologies in the service both of utility and beauty exhorted thousands of visitors, designers, tradespeople and the general public alike, to examine carefully the wares of American and international designers, detecting engines of the future often in something as simple as a chair of exceptional ergonomic form, or a wall treatment that transforms institutional spaces into places of artistic as well as functional merit. If the wares exhibited in 1851 now form the original core of the Victoria & Albert's collections, so too could many of the objects and materials shown at ICFF form a Museum of the Future. HYLAND editors Christopher Hyland and HYLAND