In the second episode of the three-part Netflix documentary chronicling the life of Victoria Beckham—the iconic former Spice Girl and wife of football legend David Beckham—viewers are hit with a provocative title: “Kill the WAG.”
This meticulously crafted, and at times overtly promotional, series charts Ms. Beckham’s remarkable evolution. It navigates her journey from a ’90s pop sensation, through her solo music career and motherhood, to becoming a leading figure in the world of luxury fashion, having once been synonymous with the “WAG” moniker (wives and girlfriends of athletes).
It appears her primary goal with her fashion brand was to shed the many labels society had imposed upon her. By reportedly ceding some control over her public image (she claims to have had no editorial influence on the documentary), she aims for audiences to perceive her from a fresh perspective.
Our Styles team recently convened to delve into Ms. Beckham’s design philosophy and the growing trend of celebrity documentaries serving as strategic branding tools. Here’s an edited and condensed version of their insightful conversation.
[Image: Victoria Beckham, dressed in black, leaning over a table with fashion designs adorning the wall behind her. This image highlights her journey and evolving identity.]
VANESSA FRIEDMAN: I recall meeting Victoria at an event shortly after David’s documentary premiered, when her on-screen presence was a hot topic. I asked if she had a similar project planned, and she firmly stated no, preferring the control of still images. Yet, here we are! Her own show. Was she right to pivot?
ALISHA HARIDASANI GUPTA: The documentary definitely offered a refreshing glimpse behind the curtain. David’s documentary, centered on him, made it easy to overlook that Victoria was the greater pop culture phenomenon at the onset of their relationship. This new series excels at illustrating her successful post-Spice Girls identity transformation, a feat few of her peers have achieved.
[Image: Victoria Beckham, in a black top and pants, observing a woman being dressed in front of a mirror.]
FRIEDMAN: What resonated most with me in this documentary was the immense strength of Victoria’s resolve. She has undeniably sculpted her own persona, both in her physical presentation and her professional path. However, it’s also evident that a core objective of the series is to establish her as a credible and serious designer.
HARIDASANI GUPTA: Do you question her legitimacy as a designer?
FRIEDMAN: Absolutely, she is. She isn’t a revolutionary designer, someone who dictates trends or invents new silhouettes. Instead, she masterfully interprets and redefines current fashion narratives with her unique vision.
I believe the documentary accurately portrays the initial skepticism and snobbery she faced from the fashion industry. Understandably so, given the Spice Girls’ mass-market appeal rather than high-fashion credentials. Yet, she navigated these early days with impressive intelligence, strategy, and a compelling personal charm.
HARIDASANI GUPTA: It’s truly intriguing that, despite or perhaps because of this prevailing suspicion, a male designer, Roland Mouret, received credit for her initial collections.
FRIEDMAN: I vividly recall being in those rooms, listening as she presented her collections. Ultimately, she compelled us all to discard our preconceived notions. She truly deserves credit for that.
KATIE VAN SYCKLE: It feels like autobiographical documentaries are emerging as a distinct genre—part brand promotion, part raw, vulnerable disclosure.
The scope of subjects receiving this treatment is surprisingly diverse, encompassing figures like “Aaron Rodgers: Enigma,” “aka Charlie Sheen,” and even “America’s Sweethearts: Dallas Cowboys Cheerleaders.”
FRIEDMAN: It’s definitely a strategic phenomenon. There’s a deliberate approach to what gets revealed. For instance, it’s acceptable to discuss past business struggles once they’ve been overcome. Her early missteps, like spending 70,000 British pounds on office plants, were particularly insightful. They suggested she was initially more focused on cultivating the image of a designer business, drawing from her consumer experience, rather than genuinely constructing its foundations.
MINJU PAK: We’re undeniably in an era dominated by promotional documentaries, glossy photo shoots, and red-carpet spectacles. Watching this felt like observing a meticulously stylized, carefully orchestrated, and highly controlled production.
[Image: Victoria Beckham looking affectionately at David Beckham, who is seated and smiling.]
VAN SYCKLE: Vanessa, do you believe she has truly transcended the “celebrity-turned-designer” stereotype? Will her designs achieve lasting relevance?
FRIEDMAN: While she undoubtedly seeks to forge a legacy in fashion, I believe her true enduring achievement lies in self-actualization. And I’d argue that’s equally, if not more, valuable. One could build an entire academic course around her as a case study in personal evolution. However, I don’t think her specific design portfolio warrants a dedicated curriculum. Frankly, witnessing her remarkable journey of self-creation makes for far more captivating television than observing the process of designing a garment.
VAN SYCKLE: That reminds me – how do she and David seem to be doing? Are they happy?
PAK: They certainly share an effortless connection. “Happiness,” however, is a more complex matter.
HARIDASANI GUPTA: Their relationship definitely conveyed a sense of romantic enchantment onscreen.
PAK: Still, I must admit they are an incredibly watchable and engaging couple. There’s a noticeable comfort and charm in their interactions.
FRIEDMAN: Honestly, I think they should launch their own reality show. I’d be glued to it instantly!
Reporting contributed by Vanessa Friedman, Minju Pak, Alisha Haridasani Gupta, and Katie Van Syckle.