Striding back from the Seventies, here come the culottes.
Victoria Beckham offered her audience everything twice. Eager eyes first absorbed the jacket, then the culottes and down to the curvy boots, with the entire look repeated in the mirrored floor below.
Although the outfits had to compete with the Rubens paintings on the ceiling of the grand Banqueting House in London’s Whitehall, it was still a statement of well-defined womanly style.
“I was thinking about the tension between refinement and rebellion - different moments and attitudes - but with no restriction,” VB said.
She continued, “The overriding sentiment is that we don’t have to follow rules – but rather our instincts.”
Yet the Beckham ideas are surely so personal that it is her spirit that guides the collection. And she who decided to show a series of belts with a pair of silver hands reaching to intertwine.
As I looked at images on the mood board, VB talked about the shorter length applied not only to her divided leg skirts but also to other outfits.
The hems were only let down for scarf printed dresses, decorated with a country animal pattern or a geometric print. If it was intended to show that VB can still let go, it worked.
The designer had planned a contemporary wardrobe, starting with eight black outfits and ending with six black or ink-blue.
In between came all those useful-in-the-wardrobe coats and suits, with the culottes fitting right in. For a change of pace, a slip dress with decorative brassiere was perhaps a reminder of her Spice Girl days.
The only thing omitted among these well-thought-out pieces was an ode to joy – something vibrant and engaging or even a little mad.
The culottes summarised the work of a designer with a clean and tidy aesthetic. But missing was that magic or madness that would have lifted a perfectly nice collection up from the ordinary.
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