New York Fashion Week Fall/Winter 2018 : Victoria Beckham
It’s created a forum where Beckham can be a designer and a Spice Girl all at once, and make her brand benefit from it. The good humour and humility she has retained along the way has given her Teflon skin in this industry, which now considers her one of its own.
So when we all rejoiced as she posted several pictures from a reunion lunch with the Spice Girls the week before showing her autumn/winter 2018 collection in New York on Sunday morning, you couldn’t help but put things into perspective. “I’ve always designed clothes that, as a woman, I really want to wear or dream of wearing. I think it’s very honest,” she said in a preview. As part of the Spice Girls, Beckham brought Girl Power to the same generation of young women in the 1990s, who are now the thirty-somethings calling for change through revived women’s movements and second-wave feminism. The wardrobe she’s provided them with through the brand that defines her life after the Spice Girls actually represents the exact the same values. “When I first started it was about the empowerment of a woman and her silhouette,” as she noted. “It feels like an evolution of where I started with certain pieces: a nice neat shoulder, a nipped-in waist, and lots of layering. There’s a depth to this collection.”
With its intricate military-cut coats and strong sense of luxury, this season summed up what Beckham has been doing all along: an attractive uniform for women, who were tired of the circus of dressing. It had the uncomplicated values associated with her approach, and the influence of Céline, which Phoebe Philo – who quit in December – had just revamped when Beckham launched her label. Taking out the intimately opulent James Burden Mansion, Beckham went back to the salon show format she started out with in a small show for the core of the industry. More confident than ever, she wanted to bring her garments as close to the spectator as possible, close enough to hear the crackling of her leathers and the rustling of her beloved plissé. The latter appeared throughout, in soleil formations on skirts and dresses, while sumptuous – “buttery,” she called them – leathers appeared in outerwear and a clean-cut utilitarian dress.