“It’s the first time I’ve worked with a narrative,” she said in a preview. “There’s something quite cinematic about this collection. It’s as if throughout the show each look is a different scene of her life. The A to Z of her life.” If Beckham had to spend years redirecting people’s attention from her widely documented life and former career on to fashion, she is now approaching a stage of revealing the side of herself she’s evolved behind closed doors during that phase. More than ever, there were references to the films and icons that form her personal interest, even if she wouldn’t disclose her direct sources of inspiration. “She’s a lady but she’s not ladylike. She’s proper but she’s not prim,” Beckham said, gesturing at tailored skirt suits in heritage fabrics, little argyle jumpers, check and poppy red coats with cape sleeves and magnified lapels, and super structured dresses in the chain motifs you’d find on silk scarves.
The silhouette was strict with an undertone of power-dressed mischief that could be attributed to the cinema Beckham grew up with as a child of 1970s and 80s: Annie Hall tailoring, The Eyes of Laura Mars shirting, and at least one Desperately Seeking Susan trouser. The 1950s Hepburn-esque ideal Beckham clad herself in early in her career – the old-school glamour, those little black dresses, the bob – materialised in new and more directional interpretations: sophisticated elongated trapeze skirts, crisp white shirts, and an embroidered black dress that had taken 22 hours by hand. Every garment had a certain sex appeal to it – backless dresses and coats but also all that bossy tailoring, not to mention the open-toe and knee-high boardroom boots – which very much reflected Beckham’s playful personality. And that’s what her brand should be about: the life and loves of Victoria Beckham. Going forward, an even deeper dive into the pool of narratives wouldn’t be a bad idea for this designer. She’s got stories to tell.