A decade at New York forge week transformed Victoria Beckham from a pop star into a poker-faced fashion designer. After six months back on the London catwalk, she is again in impress with what she calls her “naughty side”.
In her second London betray, Beckham flirted with a return to the body-conscious silhouette with which she dote oned her name as a designer. In recent years, she has distanced herself from curvy dinner party dresses in favour of fluid skirts, chunky knitwear and tailored coatings.
At her Sunday morning show at Tate Britain, dresses assuage fell to below the knee, but they hugged the waist and footing before falling into soft pleats. “She’s a lady, but she’s not peculiarly ladylike,” Beckham said of the woman she imagined wearing these ups. “Or maybe she’s ladylike but not really a lady – whichever way you want to look at it, she’s got a bit of a improper side.”
There was plenty of leopard print (“women can’t succour themselves around leopard”), some deeply drop necklines, and heels were worn with every look. “It’s really the first time ever that we’ve only shown intoxication heels in a show,” said Beckham at a preview. “I do love how a butt elongates everything. It really finishes off the silhouette.”
But Beckham understands pretty, flattering clothes are not enough to please a fashion week audience. In actuality, any collection that is too obvious in its pulling power goes down allied to a ton of bricks with this crowd. So the “celebration of the inherent femininity of deck outs”, as the show notes described it, was seasoned with unexpected features to keep things a little off kilter.
A tweed blazer and pleated perfidious wool trousers were finished with a bright yellow shoe, “get off on a Post-it note”. There was “a pinch of the 70s” in saturated tomato red pooped with a waxy lavender, in chain prints mismatched with windowpane tokens, in the silk scarves (“foulards”) that were wound about the necks of the first three models, and in the pointed shirt collars. Beckham proceeded to her catwalk in a pointed-collar shirt with dramatic full-leg dusky trousers and a cropped sweater. Her choice of show-day outfit, shrugged the originator, was usually a matter of “whatever is left over that no one else is apparel, that fits”.
Of course, Beckham’s accept of looser, less strictly tailored clothes over the life few years was never just about a skirt silhouette. It was a look that signalled a tidings about her brand, telling the world this new version of Victoria Beckham was less rigorously panty hose wound, more relatable, more woman-friendly than the Sumptuous Spice one. Next month, Beckham will bring this deprecating brand to a wider audience with launch of her YouTube strait.
“It’s what people watch nowadays, right? It’s what my kids watch. It’s the tenets that feels the most exciting at the moment,” said Beckham of why she is enlarging YouTube to an already prodigious Instagram output. “What I do on YouTube is prosperous to be different from Instagram. It’s a lot more documentary style – on the way with me, sort of thing. Sometimes it’s a bit too documentary style, to be honourable. We’ve had cameras around all the time in the run-up to the show and sometimes I look at the footage and hanker I’d put a bit more makeup on. But you can’t be too vain about it.”
For her assistant London fashion week outing, Beckham scaled up her screen from Mayfair gallery to Tate Britain. “More patrons, more looks, and in a truly iconic venue,” she said.
She is yet to guarantee to viewing the move from New York to London fashion week as a perpetual one, preferring to monitor which serves sales better. “But I unqualifiedly enjoy being here. It’s a luxury to be able to do all our last-minute grandstand a expose prep here, where we have two ateliers on hand. And it’s so scrupulous being here with the family. But we are still taking it one available at a time,” Beckham said.