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For Victoria Beckham, physicality sculpts our bodies and clothes. The famed polymath, who spent her youth immersed in the studies of classic and contemporary ballet and musical theatre, our postures and gestures mould the garments we wear and give them life. Exploring this perception in her SS24 collection, the impressions ballet’s corporeal movements make on its uniform was her starting point, and evolved into an exploration of the history and stories reflected in the antique fabric furnishings of old houses in the British countryside.

Communicating this through effortlessly elegant silhouettes that flirt with immaculate tailoring,  everything is spliced with balletic character or rustic undertones. Ribbed knit bodysuits are worn with sleek cardigans and semi-structured jumpers – designed to resemble a stage leotard – are paired with cheeky knickers. Elsewhere, the authentic jersey t-shirt of dancewear adapts into a multitude of silhouettes which were worn with collapsible, square leather gym bags that can be carried as holdalls, handbags or a cross-body bags.

Staples of provincial English interiors – the embroidery of a tablecloth, the scalloped trim of a napkin, the Broderie Anglaise of a curtain – add a touch of comfort to pure white cotton dresses. The cushioning of a ballerina’s uniform is reflected in the circularly padded bustier of an Eau de Nil silk dress (also inspired by 1930s’ tea dresses).

With the razor sharp field jackets and boxy blazers she presents, construction is “elevated into decoration” by imbuing garments with the creases created by movement.

The palette, informed by a Degas work on paper of ballerinas, in some places, and the gently metallic pastels of Monet’s series on the Houses of Parliament and his studies of Les Meules, in others, was persuasive. It was a dance to be remembered.