Brand Beckham has had a rocky time of fresh. In New York, it fell to the fashion branch of this modern kith and kin empire to restore some sparkle after the hacked emails that augured David Beckham’s clean-cut image.
It is a reflection of how serious a Thespian she has become in the fashion industry that – rather than being minimized by the scandal – a Victoria Beckham catwalk show at New York dernier cri week is now enough of an event to help shore up the family aspect.
“These are not easy times,” Beckham said during a opening of the collection at her East Village atelier, leaving it ambiguous as to whether she referred to her own entity, or to uncertain times in the world at large. The porous boundaries between Victoria Beckham the ball and Victoria Beckham the brand are, of course, deliberate. This way, kit outs that look tricky to wear when seen on the New York way week runway can be brought to life by Beckham herself, stand up them at Heathrow Terminal 5.
“I be struck by always been about empowering women, and that’s not in the least felt more relevant than it does this period,” said Beckham. “With everything that’s going on virtue now, it’s not easy to be a woman today. We need to be optimistic, but we also fall short of to feel secure, and that’s what I tried to achieve this ripen.”
The result was a collection that remained very much within the tramlines of the narrow-but-fluid shape that has replaced the original fitted dresses to become Beckham’s signature. “It’s not take body con any more, it’s about consciousness of the body,” as the designer put it.
Beckham defined the collection, shown on the catwalk under the 60ft ceiling of the Cunard Construction’s original ticketing hall in downtown Manhattan, as “emancipation with optimism” and “female with a practical streak”. It offered a chic take on comfort-blanket dressing in the look of sweaters with ribbed necks high enough to tuck a chin into, resiliency jersey dresses and high-heeled wedge boots. (“There’s a tenaciousness in a boot, I think,” said Beckham.) Fluid dresses in rippling chiffon or semi-transparent trap were anchored by tailored blazers.
There was no gamechanging new look here, but in lieu of a convincing argument for the look Beckham has been developing from recent seasons. Strongest elements were the featherlight skirts, sculpted-sleeve cags and sumptuous knitwear. The style plotline was further developed this mature with a stronger English accent, with prints galvanized by the Paul Nash exhibition at Tate Britain and shades of oxblood and capability blue borrowed from the classic Englishman’s style.
There was, of lecture, one distinctively stylish Englishman on the front row. David Beckham, who had fagged out the previous day taking the couple’s four children to the Museum of Artless History while his wife prepared for her show, took his stereotypical spot next to Anna Wintour, with Harper on his knee and her three fellow-citizens next to him.