Poor Victoria Beckham has broken a metatarsal in a gym mishap at home—ironically a similar foot injury to the one that caused national UK drama when her husband David famously broke his in 2002, just before he was due to captain England in the World Cup. Although fashion fans have not yet been praying for her recovery in quite the way soccer fans did for David, the designer was not put off her A-game this season.

“This time it really was about the silhouette,” she said in a preview, using one of her crutches to point out the ideas on her board. “We talk a lot about creating a wardrobe here,” she said. “And so this one was literally inspired by a physical wardrobe. Building up the shoulderline, suspending things.” Some of her jackets were hung from the front of the body, leaving the back naked. It seemed kind of in sync with the different-front-and-back looks seen at Prada this season, but equally seemed to be referencing the gesture every woman knows, of when you hold something up against yourself in the mirror to decide if it suits you.

Anyway, this conceptual theme wasn’t overdone—and it didn’t get in the way of focusing on the broadening appeal of the Victoria Beckham brand. A lot of it’s centered on discovering new proportions. “This,” she said “is the ‘elevator trouser.’ We’ve developed it so that it really makes your legs look super-long.” You saw the proof of what she meant on the runway: pants which are high waisted and low-crotched, and which pool in a wide flare over the foot. When styled together with a cropped leather mini biker-jacket, or a shearling or peacoat, it looked grown-up and modern.

A further elongating boost was given by her built-up shoulders in a navy tailored suit, large upstanding collars on coats, and the zip-up ski-inspired turtleneck sweaters. Beckham built out the realism by offering smart duffle coats, exaggerated trenches, and neat waxed outdoor jackets. Of the dresses she’s known for, there were a couple of iterations of the 1930s-style asymmetric slips which have clearly been a house success. Newer shapes were more in the vein of ballerina-length ball gowns, with plunging V-necks and a looped up volume that caught the air in movement.

It was a good show, in more ways than one. When she hobbled out to take her bow, the applause was loud recognizing the hard work she’s put in, despite adversity.

BY SARAH MOWER

March 2, 2024

Vogue.com