Modern Heritage, Twinkle, Art Studio, Unwrap the Magic. No, this isn’t a new Bath and Body Works scent release. It’s the four categories of lingerie at the newest Victoria’s Secret Fashion show. After being eradicated from the brand’s extensive marketing, the runway show is back—with an inclusive twist. Promised by Victoria’s Secret to “reflect who we are today,” the event was touted as a reinvention of the classic show. But was the show’s return really all that it promised to be?
The Victoria’s Secret fashion show was canceled in 2018 because of controversy surrounding the exclusive nature of the models. The marketing chief of VS at the time, Ed Rezak, told the magazine Vogue that there was no interest in fashion shows with plus size models. He also mentioned that transgender models had no place on the VS runway. Although Rezak later apologized for some of his remarks, the damage was done: the show was canceled in 2018. So why bring it back? First of all, VS is facing an increasingly competitive market. The lingerie market is highly saturated—the market was valued at $88.32 billion in 2022. Moreover, the net sales of the company decreased by three percent in 2024. Clearly, this comeback runway extravaganza may have been a last ditch effort to increase sales.
The first segment of the show was Modern Heritage, a confusing title indicative of the befuddling fashion to come. This section was opened by Gigi Hadid and indicated what would be a long night of uninspired nightwear. She donned huge, feathery, pink wings and a pretty, albeit unoriginal, cowl neck bodysuit. The wings were mechanical, meant to unfurl and dazzle the audience with their enormity. But what could have been beautiful ended as a clunky reveal—more ostrich than swan. The other looks in Modern Heritage were acceptable but undistinguished. Exceptions from the monotony included Imaan Hammam, dominating the runway in a voluminous tulle cape and delicate lacy bra. Brazilian supermodel Adriana Lima closed out Modern Heritage in plaid leggings, a strappy long sleeved bra and tightly slicked hair. Although Lima gave the runway her all, she was underutilized. Her tawdry outfit diminished her star power.
The next section was Twinkle, which was shockingly similar to Modern Heritage. Canidace Swanepoel opened this section in wings that looked like a third grade art project. The wings looked like pipe cleaners, bent to spell out Victoria’s Secret. Lila Moss, daughter of supermodel Kate Moss, delivered one of the most white-bread walks of the night. For someone already accused of capitalizing on industry nepotism, her middling walk only fueled more criticism. On a more positive note, Alex Consani was absolutely fierce in satiny, puffy angel wings and a modest square neck bra. The outfit wasn’t groundbreaking, but Consani’s modeling prowess delivered nonetheless.
Shortly after, an electric guitar sounded and the Heroes section of the VS runway show was off. Kate Moss opened the show in a black bra and lacy overcoat: an attempt at classy that ended up just looking half-hearted. Again, a 90s era supermodel was reduced to another walking mannequin. The Heroes section continued on with similar outfits to this one, each sporting black, gold, or some combination of the two. One shocking look was a string bikini with two exceedingly small stars in lieu of triangles. For lingerie, it’s tempting to think that less clothing equates to a more daring look, but it ended up appearing simply uncomfortable. However, model Joan Smalls was stunning in a mesh bodysuit, embellished with crystal and emphasized with a netted, spiky cloak. It was a rare moment of balance: not too obnoxious, not too serious.
Atelier, defined as “a workshop or studio, especially one used by an artist or designer” was the next section. It was a combination from the city-grunge aesthetic of Heroes—dark colors, sharp shapes—and the fragility of Twinkle—florals, pinks. One outfit consisted of a low-cut hipster bottom and underwire bra. A garish shrug made of shiny, plasticky flowers topped the whole incohesive look off. Unfortunately, this pattern of disjointed elements and thrown-about themes continued through the Atelier segment. It was a mishmosh of ideas, disorganized and under the lazy excuse of being “avant-garde.”
The holiday section, Unwrap the Magic, worked as the conclusion to this runway show. This was bookmarked by red busiters, red wings, red panties—if it was red, it was probably on the runway. Vittoria Ceretti opened this piece in abstract, ribbony wings and a satiny, sweetheart neck corset. It was a simple look, but a solid one. Bella Hadid closed the show in a voluminous feather robe. The robe was massive, with red and black ombre sleeves reaching above Hadid’s head. She oozed self assurance, and for good reason: her jacket was likely the most innovative clothing item in the show.
Despite its long-awaited countdown and surrounding excitement, the glitz and glimmer of 2024’s fashion show was poorly thought out and cheaply designed. There were models of different body types and genders, but the inclusivity felt overshadowed by the sub-par fashion. All evidence points to one disappointing conclusion: the Victoria’s Secret angels should have stayed behind their pearly gates.
