When people talk about Victoria Beckham’s brand, they often end up discussing her finances even before her clothes. Every year, headlines about the company’s results appear without fail; for five consecutive fiscal years, it has posted double-digit revenue growth and, in 2025, turned a profit for the first time: 7.3 million pounds, compared to a loss of 1.6 million the previous year. This growth has been built on the perseverance of those who have continued to believe in her vision, proving season after season that Victoria Beckham’s brand is not merely a celebrity’s entrepreneurial whim, but the vision of a designer. And that vision continues, collection after collection, to become ever clearer.
For SS27, in fact, Victoria Beckham revisits themes already explored in previous seasons, continuing to build on the pieces and silhouettes that have defined the brand’s aesthetic. Mini trench coats are back, this time with a rounded silhouette—a piece that, given Victoria’s British roots, inevitably speaks to her as well—along with cocktail dresses and, above all, tailored suits. But this time, everything is infused with a specific reference: the 1920s.
A decade of liberation and contradictions, during which women’s role in society changed—and along with it, so did their wardrobes. Skirt hems grew shorter, waistlines dropped to the hips, bodies were freed from the rigid structures of the past, and the evening became the perfect time to show off flowing dresses, fringes, embroidery, and movement. These were the years of the flappers, jazz clubs, and a new concept of femininity that could be sophisticated without necessarily being prim, and sensual without having to emphasize the figure.
An aesthetic that blends particularly well with the one built up over the years around Victoria Beckham herself: a woman who is extremely in control of her image, sophisticated and pragmatic, yet capable of embracing a sense of humor and lightheartedness without ever losing the elegance that sets her apart. And inevitably, the fashion world has already begun rediscovering this aesthetic in recent seasons, starting with Matthieu Blazy’s Chanel, which has brought certain hallmarks of the Roaring Twenties back to the forefront through very low waists, elongated silhouettes, flowing dresses, and a femininity liberated from the need to rigidly follow the contours of the body.
Because, as we’ve come to understand from several collections now, Victoria Beckham’s woman —who is also, in a way, an extension of the designer herself—is a no-nonsense businesswoman when she wears tailored suits, which have now become one of the brand’s hallmarks, but can transform almost instantly into a socialite with an unexpected lightness through fluttering, embellished cocktail dresses, without ever indulging in too many unnecessary frills.
She is a practical woman who seeks beauty in harmony and proportion rather than in excess. She can wear a tailored suit during the day and a very light dress in the evening without seeming like two different people, because what ties these opposites together is always the same idea of femininity: mature, self-aware, and built around what a woman wants to wear, not around what she’s supposed to represent.
And now that the numbers finally add up, Victoria Beckham is no longer interested in proving she can be a designer. Today, she is simply continuing to build, season after season, the identity of a brand that has now found its own voice and the woman it wants to speak to.
[📸 IPA]
