In the Sixties, skinny was a new magnificence splendid; cultural adjustments meant trend began catering to youngsters as a substitute of older girls, a slim nearly childlike physique symbolised the new obsession with youth. It later re-emerged as the trend fantasy of the Nineteen Nineties, with younger lovely ladies taking up catwalks and billboards. They embodied the final cool—impartial, rebellious, and effortlessly glamorous, residing on cigarettes and champagne and all of us needed to be them. As the decade progressed, early plus measurement fashions started to emerge. Sophie Dahl taking to the runway in 1997 was a cool countercurrent towards the rise of “heroin chic”, Dahl later turned the face of Tom’s Ford’s Opium in 2000. The physique positivity motion emerged in the 2010s amplified by social media, difficult typical magnificence requirements. The motion highlighted intersectionality with curve, queer and disabled our bodies at the forefront, a protracted overdue presence in an business nonetheless dominated by a single silhouette.
So why in 2025 are we falling again to exclusivity? Why is skinny well-liked once more? I sat down with award successful director Julia Parnell (The Chills, SIX60, Till the Lights Go Out, Choir Games), and curve fashions Isabella Moore and Hannah Janes to get the inside story on the new fascination.
In an period of Ozempic and shifting magnificence beliefs, this docuseries examines the emotional {and professional} prices of visibility for plus measurement girls in trend and presents an insider’s take a look at the international dialog round physique variety.
Documentary director Parnell is understood for championing human centred tales throughout music, tradition and social points. She says: “As a documentary maker, but really as a human, I’ve always been interested in fashion, art as a mirror. Clothes shape our identity and the industry shapes our self worth. I love how dressing provides a representation of who I am and how I feel. The urgency to create a fashion documentary came when we saw the retreat from body diversity.”
Parnell’s co-producer, Evelyn Ebury comes from a trend background, each in the UK and New Zealand. It was her thought to strategy mannequin and opera singer Isabella Moore to participate, having interviewed her a few occasions throughout her curve modelling profession.
As the thought took form, it unearthed hidden truths. Parnell explains “It really wasn’t until we were filming February this year as Fashion Weeks happened, and we saw a 50 per cent drop in plus size and curve representation on all the major catwalks”.
It’s no coincidence that that is taking place whereas GLP-1s are being talked about in fitness center locker rooms in the similar method as a beauty process. “I don’t think any of us should be judging who wants to take a drug to be skinnier. But why are they doing it, that’s the most interesting question to me as a documentary maker, as a director. The fashion industry and Isabella’s story was like a canvas, but really at the heart of what I wanted to try and understand is what are the internalised messages, both in the fashion industry and in culture that makes us feel that the only acceptable version of body is thin.”
It’s the first documentary collection of its variety to bridge Pacific, New Zealand and UK views — providing a cross-cultural lens on fashion’s guarantees, pressures, and contradictions. As Ozempic and Wegovy dominates headlines, the retreat from physique variety is unfolding in actual time. This collection doesn’t simply expose the business; it reveals why sustaining true inclusion stays so tough, particularly as our bodies turn into commodified and tendencies shift.
The collection hears from voices like Felicity Hayward and Alex Light (UK influencers and physique picture advocates) difficult international magnificence requirements; British trend leaders — together with Jamie Gill, the collection’ government producer and government board member of the British Fashion Council, and Daniel Peters founding father of (Fashion) Minority Report. Designer Edeline Lee and casting agent Madeleine Østlie push non-traditional magnificence from catwalk to casting — these are usually not outsiders critiquing trend. They’re residing it.
New Zealand born Sāmoan soprano Isabella Moore is a celebrated curve mannequin. “A lot of my motivation to take part came from the disappointment seeing the industry shift back towards smaller is better and noticing the lack of demand for models above a certain size. I entered the industry when it was at peak inclusivity around 2019, we were starting to regularly see curvy bodies in fashion like Ashley Graham and Precious Lee. When I noticed that beauty standards were drifting back to the idea of skinny, and the acceptance that bigger bodies had just been a trend, it was really scary.”
Moore is worried about media and society whipping up fats phobia leaving folks with the thought there’s nothing worse than being fats: “I felt angry for myself and the women who have been made to feel like they’re not good enough because they don’t fit that narrow beauty standard that only praises one type of beauty. The documentary questions the rules we live by not just as women but as people, it encourages us all to celebrate our individuality and to take our power back.”
Moore provides: “It’s not just less bookings, it’s also the amount of photos taken on a shoots. In the past brands would want front, side, back, all styled images but now it’s just a very basic front shot to show the product is available in a size 18. Something has shifted. Celebrities famous for their curves have dramatically lost weight – Kim Kardashian slimmed down to fit into Marilyn Monroe’s dress for the Met Ball 2022 – the trickle down via social media has created a new obsession with skinny.”
British curve mannequin Hannah Janes has been in the business 20 years. Her profession began as UK measurement 4 – 8 mannequin aged 12, however she made a pure transition to curve not wanting to place her physique and psychological well being via the trauma of consuming issues. She mentioned: “It just wasn’t a good mental health decision for me anymore to work as a straight model, making that transition has absolutely changed my life.”
Janes has first-hand expertise being instructed “we don’t shoot curve”. It provokes a well-recognized feeling of insecurity: “I’m thinking what do you mean you don’t shoot curve. Those regular weekly jobs have just disappeared for me and now they’re shooting maybe once a month. It’s very odd from last year, calling my booker from a random hotel in Italy on the verge of burnout, thinking I need some time off to this year hoping I can pay my rent this month.”
She provides: “The word ‘fat’ … is often used as an insult, people who want to insult me online will say “oh now you’re a fat model” as if that signifies that I’m not an actual one. It’s ingrained in our tradition.”
The mannequin casting expertise is infamous for being unkind, with casting administrators barely taking a look at a mannequin’s ebook. Moore describes what she went via: “An important moment we wanted to share was in episode 2 where we recreate a pretty standard model casting experience. You’re basically given a white t-shirt and pair of skinny jeans to take some images in. I don’t think people realise how vulnerable and powerful that moment was to share … to go to a casting an unfortunately not fit into the clothes. Although it didn’t click immediately I realised how important that moment was for people to see and for women like me. The size of the garment was most likely the largest size offered, we can’t just ask for the next size up, it doesn’t exist.”
Episode 5 sees Moore discusses the significance of her Samoan heritage. She says: “I don’t think culture is recognised as something to celebrate in the fashion industry. I believe I got where I am today because of my ambiguity not because my Samoaness was being celebrated. In the documentary I say if I looked more Samoan I don’t think I’d have the career I have today and I’ve struggled with a lot of guilt because of that, having opportunities other Pacific people don’t get just because I sit more easily into Western beauty ideals.”
While the rise of Ozempec is bringing skinny again we now have to have a look at the deeper query of why that magnificence splendid is so fascinating. Many students, activists, and cultural critics argue that racism is woven into the historical past of the “skinny ideal” and the trend business’s choice for much less curvy our bodies. The present second with GLP-1s and a resurgence of “thinness” is tapping into these deeper histories. Why is curve dropping off the runway, adverts and even inventory rooms? With the rise of proper wing politics worldwide, it appears the runway has adopted go well with, rolling again physique variety and pushing curve fashions out of the body. This documentary is vital in elevating all of those questions from merciless casting rooms to investigating why manufacturers don’t dive into the curve financial system.
I’d love to listen to your tales and opinions on the right way to create a extra inclusive trend world. Please go away feedback beneath or e mail me caroline.garland@impartial.co.uk.