Victoria Beckham started her presentation by personally greeting each and every one of the 25 or so editors and retailers assembled in the Upper East Side town house to see it. Most designers, of course, prefer to hide out backstage. "When does that ever happen?" someone asked after shaking hands with her. As has become Beckham's style over the last three seasons, she narrated as the models glided out in her dresses, discussing fabrics, color, cut, and construction. She sounded like such a pro, you almost forgot that she was once a pop superstar, until, pointing out a buff-colored draped silk jersey gown with a grosgrain ribbon sashed around the asymmetrical bodice, she told us, "I'm going to wear this one to the Oscars." A cloudlike gazar confection with couture-esque hand-tucking and a blurred pixel print lifted from the Dick Tracy comic came with another anecdote, this one about what a nightmare it was to put together.

Well, all the hard work paid off; there wasn't one bad dress in the bunch. The best of her signature hourglass sheaths came in a brilliant emerald stretch felt for day, and for evening in an antique gold metallic jacquard with an asymmetrical neckline. Where she pushed herself was with draping and looser-fitting shape—relatively speaking, of course. A strapless sapphire double-crepe column gown with a tuck at the bust and a draped back was as Martha Graham as things got. More often Beckham married the fluid with the structured, as she did with one fabulous dress that was nude silk jersey on top and densely ribbed nude jersey below the waist. The most exciting development, though, was a wool crepe long-sleeve tunic dress. Cut on the bias so that it felt like wearing an oversize sweater—or so Beckham described it—the frock had an everyday kind of sexiness that will win her a whole new class of fans.