For all the naked dresses and rib-crunching corsets, the is a branding exercise and this year, came out with flying colours. The designer picked to wear her work (not always the case for creatives climbing the social ladder), and imagined a thoughtful look befitting both the “Garden of Time” messaging and herself. With its hand-cut flowers and vintage lace, the faded rose gown (designed to complement the actor’s complexion) was a lesson in quiet excellence and proved that in a sea of look-at-me fashion, it’s not always the gowns that shout the loudest that make the biggest splash.
On the after-party circuit, Dynevor wore a little black dress of Victoria’s design to , cementing this as an authentic partnership away from the bright lights of the Met. The fact that Victoria was absent showed the night was about the work, not herself. Beckham’s nudge to becoming a bona fide red-carpet designer has been taking shape for some time, but a new period of profitability is giving the brand serious clout.
The Hollywood move plays to her strengths. “I have stood on so many red carpets and seen so many images of myself that I understand the importance of a strong silhouette, because you’re photographed from every angle,” Beckham tells me over email. “I’ve learnt from being the person in that position, so it’s something I’ve always had a strong point of view on.
I’m excited it’s a reality; it’s not just me wearing these pieces, but stars I have an enormous am.
