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Victoria Beckham reveals second fashion collection
Victoria Beckham, dress designer, held court in a suite in the Waldorf Towers on Sunday, scrutinizing and explaining as a parade of 23 dresses, finely-structured and perfectly-tailored to within a centimetre of their lives, passed by her gaze.
By Hilary Alexander, fashion director
Last Updated: 1:45AM GMT 16 Feb 2009
These were the designs from her collection for next autumn/winter – and she has a personal relationship with each one which almost amounts to a love affair. She knows every stitch, every seam; the construction of the fabric and the inner "secrets" such as the shoulder pads and the paneling details which make for perfect posture and a strict, hourglass silhouette with no lumps and bumps.
This is only the second collection she has put her name to – and is she learning.
She wore one of the dresses herself, in pewter silk gazar, epaulette-sleeved and uncorsetted - unlike the dresses she showed for spring/summer which each had a built-in, "obi" corset.
"This time, we have made the corset as a separate item. I've talked to my customers and found they would rather have the option of wearing the dresses without."
Hence the addition of a fine, cotton and power-mesh corset, lightly-boned, which sits under the bust, does not "push your boobs up too high – that's vulgar" and clings to the body, rather than gripping it.
The lengths are shorter, too, much like the one Victoria wears herself, just on the knee. It is a length which finds more favour, she says – and which anyway she prefers to wear herself- than the slightly retro, mid-calf hemlines of last season.
Still, the dresses suggest a scenario where Joan Crawford has just walked onto the set of "MadMen", the vintage advertising TV series renowned as much for its costume accuracy as its slang and jargon and sexism of the era.
The setting adds to this feeling. Wood-panelled, with ambient, flattering lighting, a huge arrangement of *****-willow branches and a grand-piano, it is like a library in a grand country house where the guests are about to assemble before dinner,
Any one of the dresses in the collection would be perfectly-suited to such an occasion. There are the short, structured styles in electric violet shot silk or black, stretch, wool felt with gilt ring embroidery at the waist. There are longer, below-the-knee styles, in the same stretch wool, but in cream, or a black/pewter basket-weave, with a fold across the bust, which she reveals was partly inspired by her Vera Wang wedding dress.Others are in grey cashmere, or panels of black stretch and a shimmering gold tinsel boucle.
One looks like a jacket and skirt, but is in fact still a dress with a flirty rise- and- fall peplum emphasizing the waist in front and contouring around to fall in suggestive waves over the derriere.
But, they are modest in the extreme; no cleavage, no cut-outs, no transparency; often covering the knees and all with short cap or three-quarter sleeves.
"Sexy, from a woman's perspective," Victoria says, pointing out that each style is equipped with a gold or silver zip, often encased in satin which runs straight down the spine from nape of neck to knee. Only a man is needed to open it.
New are a series of capes, in either a charcoal, rubberized tweed – "NOT waterproof," she emphasizes – with bold gold zips running down the front and up each of the semi-sleeves, "to add interest, so you can wear it in different ways." One particularly clever version is in black silk gazar, finished with a big, beautiful, black bow at the neck – "perfect to wear over evening dresses; it's so hard to find the right jacket when you're going out in the evening."
Best of all are the long dinner or evening gowns in black, claret-red and matt black, liquid sequins. They fit like silken gloves, have long trains which trail behind and they slither and shimmer around the bodies of the models, making them appear like mermaids.
Mrs Beckham was much derided when she launched her fashion range last season. But the critics have had to eat their words.
There is a market for them. They have been a success at stores such as Bergdorf Goodman, Neiman Marcus and Selfridges, as well as the ultra-chic online boutique net-a-porter.com, and there is big demand in Russia and Dubai. For spring/summer only 400 dresses were made; for next autumn/winter, production will be nearly doubled.
All the dresses are made, with a lot of handwork, in London – with the exception of one bare-one-shoulder style where the black chenille beadwork on the solitary sleeve was finished in India.
The prices are high – from £850 up to a high of £4,600 and £4,900 for the more elaborate, long, trained gowns.
"I see these are investment buys. They're designed to be worn from year to year, not season to season."
Because that's called being unoriginal and essentially means that she's relying on other designers to come up with ideas so she can cash in on them, hence that payday comment.First, I'd like to say that this collection is lovely - I can see myself wearing every single piece (and I am not even into dresses!).
Second, I think VB is dissed by many even before they see what she has to offer simply because she is VB.
And third, I think there is nothing wrong with the fact that she draws insiration from her favorite designers - she is designing these clothes so she herself would wear them (unlike most celebs out there with clothing, etc. lines) so to say that "... this whole thing reeks of a payday ..." is not really fair - she does love to wear her own brand so why not get ideas from other labels she wears and loves.
This is JMO, of course.
seems like all come from her own closet
Because that's called being unoriginal and essentially means that she's relying on other designers to come up with ideas so she can cash in on them, hence that payday comment.
And I hate to point it out, but if she was just some no-name up-and-comer, or even just an established designer who didn't have a following because they're a celebrity, she would be ripped a new one by most people and called a knock-off artist. So in that way she's lucky she has some die hard fans who are willing to defend her no matter what.
Because that's called being unoriginal and essentially means that she's relying on other designers to come up with ideas so she can cash in on them, hence that payday comment.
And I hate to point it out, but if she was just some no-name up-and-comer, or even just an established designer who didn't have a following because they're a celebrity, she would be ripped a new one by most people and called a knock-off artist. So in that way she's lucky she has some die hard fans who are willing to defend her no matter what.
Originality doesn't mean reinventing the wheel. It means being able to put your own distinct stamp on that wheel.Fair enough. But speaking of originality - I can probably count designers in the industry today whose designs are truly "original" on one hand.