Not everyone has boarded spring’s printed wagon. On Sunday morning, at least one respite from the season’s early visual frenzy looked plenty inviting. Victoria Beckham showed what was, despite protestations that “it’s still a presentation,” her first full show, at the New York Public Library. She didn’t make the move lightly, opting for revved-up styling (Marie-Amélie Sauvé is now on the case) and a spiffy collaboration with Stephen Jones that resulted in crushed engineer caps with a pleasant dash of “It” girl attitude.


Beckham has always been her own sounding board; as such, a personal pragmatism underscores her work. Now mom to daughter Harper as well as three boys, she’s “excited to wear clothes again.” (Nine weeks after giving birth, she looks as slim as ever.) That doesn’t mean she’s into fashion confinement. Though she sent out a few of her curvaceous standards, the news came in easy lines with a modicum of Mod, the mood rendered via structured shapes and fabrics, colorblocking and, once or twice, a naughty sheer inset at the hips where a belt might otherwise go. When she went softer, it was with pleated crepe skirts attached externally to techno-stretch bodices. Along the way, Beckham’s mostly discreet palette — black, navy, white — got injections of vibrant orange.  


She amped up her outerwear, shown in gorgeous iridescent pales of lilac, blue and gray. Here, she crossed what she called couture volumes with the hoods, drawstring and tapes of the athletic vernacular. Worn over crisp, short dresses, these pulsed with a distinct sportswear vibe. Asked if that category is next on the agenda, Beckham was noncommittal, but don’t be surprised.

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