Hubbry Logo
Plus-size modelPlus-size modelMain
Open search
Plus-size model
Community hub
Plus-size model
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Plus-size model
Plus-size model
Plus-size model
View on Wikipedia
from Wikipedia

Velvet D'Amour, model for John Galliano, then muse of Jean-Paul Gaultier, at the 2010 Cannes Film Festival.

A plus-size model is an individual size 12 and above who is engaged primarily in modeling plus-size clothing. Plus-size clothing worn by plus-size models is typically catering for and marketed to either big, tall or overweight men and women. Plus-size models also engage in work that is not strictly related to selling clothing, e.g., stock photography and advertising photography for cosmetics, household and pharmaceutical products and sunglasses, footwear and watches[citation needed]. Therefore, plus-size models do not exclusively wear garments marketed as plus-size clothing. This is especially true when participating in fashion editorials for mainstream fashion magazines.[citation needed]

Synonymous and interchangeable with plus-size model is "full-figured model",[1] "extended-sizes model", "over-weight model", "fat model" and "outsize model". Previously, the term "large size model" was also frequently used.[2][3]

Plus-size industry

[edit]

Fashion designers are starting to look more closely at the earning potential from plus-size clothing, and have used plus-size models for their advertising campaigns and catwalks. Jean-Paul Gaultier and John Galliano both used plus-size models[4] in their Spring 2006 showings in Paris.[5] Gaultier also used plus-size models Marquita Pring and Crystal Renn in his Spring 2011 Ready-to-Wear show.[6][7] Italian plus-size fashion house Elena Mirò now regularly stages biannual prêt-à-porter shows during Milan Fashion Week.[8] Mark Fast[9] and William Tempest[10] each used plus-size models during their own London Fashion Week showings for Spring 2009, and again as part of All Walks Beyond the Catwalk[11] event held on 19 September 2009 in association with the British Fashion Council. Mark Fast also used plus-size models in Fall 2010, Fall 2011,[12] and Spring 2012.[13] Mr. Debonair of Beautiful You Fashion Tour uses plus-size models in shows around the world, including during the Beautiful You fashion show during New York Fashion Week 2022 which included Ms. Plus Intercontinental 2021 title holder Wendy Roach.[14] Plus-size models became increasingly represented in high fashion after 2020 but saw a decline in early 2023 when ultrathin models made a comeback.[15][16]

Origins in North America

[edit]
A page from the Lane Bryant Spring/Summer 1954 catalog.

Lane Bryant began trading in the early 1900s as a producer of clothing for "Expectant Mothers and Newborn"'.[17] By the early 1920s, Lane Bryant started selling clothing under the category 'For the Stout Women', which ranged between a 38–56 inch bustline.[17] The earliest catalogs used illustrations to sell their products, but by the mid-1950s photographs were integrated into the catalogs as the evolution of printing technology made this option available. After a hiatus through the 1960–1980 period, Lane Bryant again began using plus-size models.

Specialty model agency divisions

[edit]

Plus size models were first represented by model agencies in the 1970s.[18] Prior to this, models freelanced directly with retailers, designers and magazines.[19] Former plus-size model Mary Duffy owned Big Beauties Little Women, the first agency specializing in plus-size and petite models in 1977.[20] Pat Swift, a plus-size model at the time, founded Plus Models in 1978.[19] Ford Models began representing plus size models in 1978, and added two models to their board, including top model Ann Harper, due to demand from clients.[2] By the late 1980s, Plus Models was the largest and most successful plus-size specialty agency, representing over 65 models and grossing over 2 million dollars in revenue.[19] By 1984, Big Beauties Little Women was successful enough to run national model searches advertised in the press.[21] 18-year old Angelia Taylor was the first winner of the inaugural Big Beauty Model Search in 1984. The prize included the cover of It's Me magazine, a nationally published magazine for plus-size women.[21] Not long after, Plus Models began holding national model searches. By the mid-1980s, top plus size models could earn as much as 150,000 to 200,000 dollars a year.[3] Ford Models bought Big Beauties Little Women in 1988, later renaming the division Special Sizes and then Ford 12+.[22][23]

Wilhelmina NYC agent Susan Georget started the Wilhelmina 10/20 division in New York in 1994, recently re-branded W Curve.[24][25] Gary Dakin headed New York's Karin Models' Curves division, only to leave after a short time to develop Ford Models' Ford 12+(rebranded Ford+) model division in their New York office in 1998.[24][26] In Constantine Valhouli's 2001 plus-size model documentary Curve, Dakin states, "We're celebrating our 25th anniversary of the Ford 12+ division. It was the first and longest-existing plus division in the industry."(sic) Together, these agents created agency divisions that have continued to recruit the highest caliber of models in the industry and are credited with expanding opportunities for plus-size models beyond working solely for plus-size clothing retailers.[24][25]

Former plus-size model Becca Thorpe founded the plus-size division at Muse Model Management, a boutique fashion agency in 2011.[27] Muse also recruits high caliber models and had advanced opportunities for plus-size models beyond advertising for plus-size retailers.

Ford Models closed its plus-size division in June 2013 to focus on its editorial divisions.[28] Gary Dakin and Jaclyn Sarka founded Jag Models in July 2013, which currently represents about 30 models sizes 8-18.[28] The agency does not brand its models as plus-size.[28][29][30]

There are a large number of reputable agencies throughout the U.S. and Canada, and internationally in Australia, Belgium, Brazil, Czech Republic, Denmark, France, Germany, Ireland, Italy, South Africa, Spain, Switzerland, The Netherlands, Turkey and the UK.[31][32][33]

Specialty media and other ventures in North America

[edit]

In 1979 Big Beautiful Woman magazine (more commonly known via the acronym BBW) began publication and was one of the first publications in the US catering specifically to plus-size clothing consumers.[18] It ceased publication in 1995, but the "BBW" brand was sold onwards.[34] Although it continued in print via several editor-and-publisher combinations it continued to falter, finally ceasing print publication after 23 years with the April/May 2003 issue.[34] BBW is now an online community surrounding archived material from the magazine.[34]

In Spring 1981, Lane Bryant began publishing It's Me magazine. Along with Big Beautiful Woman, It's Me was one of the few print magazines for plus-size women.[35] In 1982, the magazine was sold to Happy Hands Publishing Company.[36]

In addition to magazines, books dedicated to plus size (aka "full figured") fashion and lifestyles began to be released from major publishers in the 1980s. Some of these include: Making It Big (1980),[37] The Big Beauty Book (1982),[38] The Lane Bryant Fashion Math Make-Over (1987)[39] and Sizing Up (1989).[40]

Spiegel catalog launched their For You from Spiegel plus-size collection in 1989 with Linda Arroz as their official consultant and spokesmodel.[41] The three-year For You campaign included opening brick-and-mortar retail locations in upscale shopping centers. Previously, Spiegel had only been a mail-order merchant. As part of the full-scale plus-size outreach, Spiegel produced fashion videos that featured advice from image consultant Arroz, with commentary from some of the plus-size models who appeared in the video and catalog. Arroz became the fashion editor of BBW magazine after her stint with Spiegel. By the mid-1990s, all For You from Spiegel retail locations had closed.[42]

In 1995, Lane Bryant began a transformation of the brand which included large-scale fashion showings and celebrity endorsement. Queen Latifah, Mia Tyler, Camryn Manheim, Anna Nicole Smith and Chris Noth have appeared in advertising and/or events on behalf of the brand. Lane Bryant held a large-scale lingerie fashion show[43] to launch the "Cacique Intimates" lingerie collection on 1 February 2000. The 2003 final large-scale catwalk show[44] featured Roseanne Barr as Matron of Ceremonies in a cabaret setting complete with Moulin Rouge-style singers and dancers.

Lane Bryant was acquired by Charming Shoppes for $335 million in August 2001. In 2003 a cost-reduction plan[45] was announced to improve the company's pre-tax position by $45 million. Shortly afterwards, the annual Lane Bryant fashion show ceased production.

With strong cooperation from Wilhelmina 10/20, Curves and Ford 12+ agencies, MODE magazine, was launched in the spring of 1997.[46] No other fashion magazine specifically targeted the plus-size consumer with a Vogue-like fashion philosophy.[46] MODE's editorial practice of providing models' names, sometimes attached to quotes on self-esteem to make them more approachable, greatly aided the popularity of the models and gave them a form of celebrity.[47] The magazine also received industry acclaim, being named the best new magazine launch by Ad Week and Advertising Age in 1997.[46] MODE ran model search competitions in conjunction with the Wilhelmina modeling agency, drawing entries from thousands of hopefuls from the US and Canada.[48]

Occurring shortly before the time of MODE's closure was the failure of several designers' ventures into the plus-size market. Versace (GV Versatile Couture), Valentino (Carisma), and others ceased producing the clothing which MODE relied upon, leaving an unfortunate deficit in the fashion department wardrobes and advertising revenue coffers of MODE magazine and its successors.[49] Its circulation was approximately 600,000 at the time of its demise[50] in late 2001.

Grace Magazine was launched on 14 May 2002 by MODE magazine's last executive editor, Ceslie Armstrong, and many of the ex-MODE staff as an independent quarterly publication and website under a similar concept.[51] Even though the initial 400,000 print run sold out quickly and advertising revenue appeared high, the independent status and limited funding prohibited the ability to grow to fill the newsstand and subscription orders. Critics,[citation needed] however, believed that Grace featured far less stylish fashion content than its predecessor and unwisely pursued an editorial emphasis on weight-related health issues. Grace Magazine ceased operation due to lack of funding in November 2003, after publishing 10 issues.

Charming Shoppes' custom advertorial magazine, Figure, was launched in 2002 and was revamped during 2006.[52] Although it featured only Charming Shoppes' own products and related lifestyle articles, it remained the only fashion and lifestyle print magazine specifically targeted for plus-size consumers until its announced closure after the publication of the March/April 2009 issue.[53]

U.S. television program America's Next Top Model has featured contestants[54] acknowledging the plus-size industry's relevance to fashion since the show's launch in 2003. After elimination from the competition several of the contestants have signed contracts with the Wilhelmina agency, although only Kortnie Coles, Diane Hernandez, Toccara Jones, Whitney Thompson, Yvonne Powless, Khrystyana Kazakova, Liz Woodbury, and Alexandra Underwood have successfully translated their TV celebrity into ongoing modeling careers.

Several homegrown calendar projects featuring models over a U.S. size 12 were launched in 2007, including the well-publicized Luscious and Fenomenal Calendar products from North America. To date, no calendar has been successful enough to continue beyond its initial launch year.[citation needed]

Plus Model Magazine, an online publication was launched in 2006 by Madeline Figueroa-Jones, a former plus-size model. The magazine features beauty and fashion editorials, beauty and fashion tips, modeling advice and interviews with plus-size celebrities as well as people working in all facets of the plus-size clothing industry.[55] Plus Model Magazine launched an online podcast in 2008 hosted by model, actress and host Chenese Lewis, which has interviews with plus-size celebrities and people working in all facets of the plus-size clothing industry.[55] The magazine gained attention in many media outlets worldwide by publishing an editorial commenting on body image and the fashion industry.[56] The editorial featured plus-size model Katya Zharkova photographed nude alongside a straight-size model.[56]

Canadian magazine LOU LOU has included specifically produced bi-annual plus-size fashion inserts featuring editorials and product pages since 2008. Echoing the advertorial relationship of Figure to Lane Bryant, LouLou's supplement features products from Reitmans group of plus-size apparel companies (Addition-Elle, MXM, Pennington's) on its pages.

Vogue U.S. has faltered on the continued use of recognisable plus-size models for the annual "Shape Issue" (April) issue; however British vocalist Adele appeared on the March 2012 cover as the first overtly larger-sized cover subject since sportsman LeBron James in April 2008.[57] U.S. Glamour has declared it will feature more plus-size models as editorial policy after the appearance of a small photograph of model Lizzie Miller caused a groundswell of positive comment.[58]

Elle Quebec featured plus-size models three times on its cover: in May 1997, May 2013 and June 2014.[59][60][61]

High fashion print publication V magazine featured seven agency-represented plus-size models in "The Size Issue" #63, photographed by prominent fashion photographers.[62][63][64]

North American body care company, Dove, launched a "Real Beauty Campaign" where they included un-retouched photos of plus-size models, and models of all sizes, to emphasize the acceptance of all body shapes.[65]

Origins in Europe

[edit]

European magazines, including European editions of Elle and Vogue have featured plus size models on covers and in editorials.[66][67][68]

In France, the media ma grande taille is dedicated to plus size industry and body positivity.

Evans, a U.K.-based retailer, was founded in 1930.[69] Evans specializes in plus-sized clothing, lingerie, shoes and swimwear.

Max Mara started Marina Rinaldi, one of the first high-end clothing lines, for plus-size women in 1980.[70] Marina Rinaldi started advertising in 1981.[71] The line's campaigns were photographed by top photographers such as Richard Avedon, Patrick Demarchelier, Arthur Elgort, Greg Kadel, Peter Lindbergh, and Craig McDean, used top models and celebrities(including Carré Otis, Candice Huffine, Crystal Renn, and Kate Dillon Levin), and were featured in magazines and on billboards.[71][72] The ads were also the first to use the term plus size rather than outsize in Europe.[71]

Specialty model agency divisions

[edit]

Cheryl Hughes founded Hughes models, the UK's first plus-size agency in 1985.[73] Allison Bramwell Bewley, a former straight size and plus-size model founded Excel Models in 1995.[74] The agency has represented notable models including Pollyanna McIntosh and Sara Morrison.[75][76] Sarah Watkinson founded 12 + models in 2000.[77] Former plus-size model Anna Shillinglaw founded the plus size division of Milk Management in 2011.[78] These agents have been credited with improving visibility of plus-size models in Europe and developing some of the top plus-size models for international markets. In recent years, the most prestigious fashion agencies in the UK have launched plus size divisions. In 2011, Excel Models merged with Models 1, one of Europe's most prestigious fashion agencies.[79] Storm Models started a plus size division, Curve in 2012.[80]

Specialty media and other ventures in Europe

[edit]

Several plus-size retailers in Europe have produced magazines. Marina Rinaldi started MR, a fashion magazine showing Marina Rinaldi fashions on plus-size models in 1992.[70] The magazine is still in publication today. Evans, one of the UK's largest plus-size specialist retailers, launched Encore, an in-store fashion and lifestyle magazine published by Condé Nast in 1996.[81]

Yes!, a print fashion magazine for plus size women founded and edited by Janice Bhend, launched in 1993.[82][83] At the time, Yes! was the only print magazine especially for plus size women in Europe.[84] The magazine stopped publishing in 1998 due to a lack of funding.

Fashion editor Rivkie Baum launched SLiNK, a fashion and lifestyle magazine for full-figured women in 2011.[85] SLiNK is one of the few magazines focused on plus size women to photograph models with a Vogue-like aesthetic.[85] The magazine began publishing in print for its fifth issue in March 2012.[86] The magazine was also the first to feature a plus size model in a 3D editorial.[87] SLiNK was also one of the few magazines to feature plus-size and smaller sized models on a magazine cover.[85]

European versions of Vogue and Elle have featured plus size models in many editorials, often photographed by top photographers. In 1997, British Vogue published an editorial with Sara Morrison photographed by Nick Knight.[88] Vogue Italia featured plus size models on the cover of three issues. Sophie Dahl appeared on two covers in 2000(February and April).[89][90] In June 2011, Candice Huffine, Robyn Lawley, and Tara Lynn appeared on the magazine's cover.[68] The main editorial of the issue featured those three models plus Marquita Pring.[68] Robyn Lawley also appeared in another editorial in that issue. Elle France has featured Tara Lynn on two covers in April 2010 and April 2012, and Robyn Lawley on their April 2011 cover. The April 2010 issue also included a 20-page spread with Lynn. Elle Italia has featured Crystal Renn on its April 2008 cover. Elle Belgium featured Deborah Dauchot on its May 2012 cover.[91] In November 2013, Tara Lynn appeared on the cover of Elle Spain. In December 2013, Iris Monroe Baker appeared on the cover of Elle Netherlands.[92][93]

Other magazines that have featured plus size models on their covers include Amica, Avantgarde, Biba, D Reppublicca della Donna, i-D, and S Moda. In addition, magazines such as Bon, Diva e Donna, Gioia, Glamour UK, Glass, Grazia, Numéro, Paradis, Ponystep, and Yo Dona have featured plus size models in editorials.

Britain & Ireland's Next Top Model has featured several contestants, including Louise Watts, who was Season 3's runner up and competed in America's Next Top Model Cycle 18.[94]

In 2016, Scandinavia's Next Top Model was rebooted as Top Model Curves, and all contestants featured were plus-size models from Denmark, Norway, and Sweden. Swede Ronja Manfredsson was declared the winner during the finale episode in Lisbon.[95]

Origins in Asia and the Pacific

[edit]

The plus size industry in Asia is not as developed as in North America or Europe, but a number of Asian plus size models have been featured in press. Australia has a developed industry with multiple designers and retailers using plus size models in advertising. In recent years, plus size agencies in Australia have launched the careers of several international plus size models, such as Robyn Lawley.

Specialty agencies and divisions

[edit]

Former plus-size model Darrianne Donnelly founded the first plus size agency in Australia, BigGals Models, which was renamed to BGM Models in 1996. BGM Models closed in 2015[96] due to Donnelly's retirement, with the majority of models moving to the new Curves division[97] at the established full service agency Vivien's Models. Chelsea Bonner, a former BGM model, left the agency to start Bella Models in 2000 in direct competition. Bonner is often credited with the discovery of Robyn Lawley as a model, although Lawley had already been modelling at a smaller size[98] before joining Bella.

Specialty media and other ventures in Asia and Pacific Region

[edit]

In April 1997, Emme appeared on a cover of New Woman, the first appearance of a plus-size model on an Australian magazine cover.[99][100] In May 2000, Australian Cosmopolitan began using plus-size models in fashion feature spreads.[101] Natalie Wakeling appeared in the first May 2000 editorial.[101] Australian Cosmopolitan now features plus size models in every issue of the magazine. Other magazines that regularly feature plus-size models include Australian Women's Weekly and Dolly.[102][103][104] Robyn Lawley was GQ Australia's Girl of the Week in its November 2013 issue.[105]

Madison magazine photographed Robyn Lawley for their May 2012 cover. In March 2014, Robyn Lawley appeared on the cover of Cosmopolitan Australia.[106]

Crystal Renn appeared in A Call for Camp in Vogue Japan's June 2011 issue.[107] Felicity Hayward was featured in the editorial I'm Better in Black in Vogue Japan September 2012.[108] Australian Vogue featured Robyn Lawley in Belle Curve for their August 2011 issue, and again in their June 2013 issue.[109]

Australia's Next Top Model featured cycle winner Tahnee Atkinson in Cycle 5.

Elena Miro produced a prêt-à-porter runway show in China featuring Asian models in 2006.

Criticism

[edit]

The plus-size modelling industry has received general criticism on the premise that acceptance of plus-size models sets a poor health example of weight management.[110][111]

Consumer-based criticism regarding the lower sizes of plus-size models was for a long time commonplace and wide-spread. While the reputed 'average' dress size of an American woman is size 14, the majority of models represented as plus-size were between a US size 6-12; therefore, the models did not reflect the average consumer size.[112] However, over the past ten years, larger plus-size models have appeared, particularly on social media, and Tess Holliday (US size 22, UK size 26) was featured on the September 2018 cover of Cosmopolitan.

Like other models, plus-size models use food tricks to temporarily alter their size long enough to meet client demands, such as eating salty food to go up in size or eating cotton balls dipped in juice to shrink for a shoot.[113] Agents have suggested plastic surgery to some models.[114]

German fashion designer Karl Lagerfeld and other fashion designers have deferred on the use of plus-size models through a lack of interest in the consumers associated with the term plus-size. Lagerfeld in particular has been vocal on the matter of his preferred clientele: "What I designed was fashion for slender and slim people" and received criticism for demanding that mass retailer H&M not produce their collaboration designs to size 16.[115][116][117]

In the past, the industry was criticized for lacking racial diversity.[118][119] For example, critics have noted that there are few Asian plus-size models.[118] Others have noted that there are few black plus-size models with darker skin tones.[120]

In February 2015, Australian model Stefania Ferrario and television presenter Ajay Rochester began a campaign to end the use of the term "plus-size" to describe models who are above a US dress size 4 by the modelling industry. Ferrario posted a picture with the caption "I am a model FULL STOP" with the hashtag "#droptheplus" which gained coverage in the media and was heavily discussed, with mixed, but mostly positive reactions, on social media and within the fashion industry.[121][122]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Plus-size model

View on Grokipedia
from Grokipedia
A plus-size model is a fashion industry professional, typically measuring US size 12 or larger, hired to promote apparel, accessories, and related products designed for individuals with body dimensions exceeding the straight-size standard of sizes 0-10. This segment traces its commercial origins to early 20th-century catalogs like those from , which targeted "stout" sizes for women beyond average proportions, evolving into a distinct modeling category by the mid-20th century amid standardization of sizing. The plus-size apparel market, reflecting consumer demand from an estimated 68% of US adult women classified as overweight or obese by BMI metrics, has grown substantially, valued globally at approximately $315 billion in 2025 and projected to reach $415 billion by 2030. However, plus-size models comprise under 1% of runway appearances in major fashion weeks, highlighting persistent underrepresentation relative to market scale. The profession has faced scrutiny for potentially normalizing elevated body weights, as studies indicate exposure to plus-size imagery correlates with reduced motivation for and healthy eating, amid causal evidence linking to heightened risks of comorbidities such as , , and .

Definition and Standards

Size classifications and industry norms

In the fashion modeling industry, plus-size classifications typically begin at dress sizes 12 or 14, encompassing women whose measurements exceed the straight-size range of sizes 0 to 4 (or occasionally up to 6), which dominates and high-fashion work. This demarcation reflects production realities, as straight-size garments are graded from smaller base patterns with minimal ease, while plus-size requires distinct proportional adjustments for larger bust, , and circumferences starting around 40-42 inches bust, 32-34 inches waist, and 44-46 inches hips. Agencies often specify plus-size models up to sizes 22 or 24 for commercial and catalog work, though plus-size representation remains limited to sizes 12-18 to maintain aesthetic proportionality relative to straight-size ideals. Industry norms for plus-size models parallel those for straight-size in —generally 5 feet 8 inches (173 cm) to 6 feet (183 cm) for women—to ensure versatility in framing and —but diverge in expectations, prioritizing curves over leanness while avoiding extremes that could limit fit testing or visual appeal in . European markets apply similar thresholds, with plus-size entry at EU sizes 42-44 (equivalent to 12-14), though some agencies accept EU 40 ( 10) as the lower bound, reflecting slightly broader commercial inclusivity compared to New York Fashion Week's stricter adherence to 14+ for plus looks. These standards are enforced by agencies like IMG Models and Wilhelmina, which scout for "commercial plus" viability, but empirical data from recent seasons indicate plus-size models comprise only 0.8% of appearances globally, underscoring persistent prioritization of straight-size norms despite market demands from average consumer sizes of 16-18. Variations exist across subcategories: "mid-size" or "curve" models bridge sizes 6-12, often ineligible for dedicated plus divisions, while "supercurve" or extended plus exceeds size 20, targeting niche or . Norms emphasize photogenic confidence and proportional symmetry over raw , as agencies reject applicants based on disproportionate fat distribution that hinders garment draping, a criterion derived from fit-model testing protocols rather than averages. This framework persists due to economic incentives—plus-size campaigns yield higher conversion rates among broader demographics—yet faces for underrepresenting true medians, with brands occasionally using size 10-12 models to front size 16+ lines, diluting category integrity.

Distinctions from straight-size modeling

Plus-size modeling differs from straight-size modeling primarily in body size requirements and target markets. Straight-size models, dominant in high fashion, typically fit U.S. sizes 0 to 4, with ideal measurements around 34-24-34 inches, heights of 5'9" to 5'11", and weights under 120 pounds to accommodate sample sizes used in shows and couture. In 2025 runway shows for Autumn/Winter and Spring/Summer collections, supermodels were predominantly straight-size, corresponding to UK clothing sizes 4-8 (US 0-4), with typical waist sizes around 23-26 inches (58-66 cm); while UK sizes 6-8 fell within this range and were common for high-fashion models, overall sample sizes trended smaller amid reduced size diversity. In contrast, plus-size models start at U.S. size 12 or 14 and above, often weighing 165 pounds or more, while maintaining similar height standards of at least 5'8" to ensure proportionality for commercial and catalog work. These thresholds reflect separate production patterns: straight-size garments use standardized slim proportions, whereas requires adjusted cuts for larger busts (averaging 40 inches), waists, and hips, leading to distinct evaluations based on size rather than precise inches. Market segmentation further delineates the fields. Straight-size modeling centers on luxury runways, spreads, and collections, where over 97% of looks in major weeks (e.g., Spring/Summer 2025) featured such models, emphasizing aesthetic ideals for elite clientele. Plus-size modeling, however, targets commercial advertising, for brands like , and inclusive campaigns, comprising less than 1% of runway appearances in recent seasons (e.g., 0.8% in Autumn/Winter 2023 shows) due to limited sample availability beyond size 4. This separation stems from economic realities: high- houses prioritize slim silhouettes for fabric draping and , while plus-size work fills a niche serving the 68% of U.S. women outside straight sizes, though representation has declined post-2022 peaks amid shifting inclusivity trends. Compensation and career trajectories also vary by demand and visibility. Straight-size models often command higher fees for prestige gigs like , but pay across both categories hinges on individual popularity rather than size alone; top plus-size talents like have out-earned some straight-size peers through brand endorsements. However, plus-size models face narrower high-end opportunities, relying more on volume commercial jobs, with agencies maintaining separate divisions to match these specialized markets. Empirical data from fashion analyses indicate persistent underrepresentation, with plus-size bookings dropping to 0.3% in Autumn/Winter 2025 shows, underscoring structural barriers tied to designer preferences for unaltered sample fits over adapted larger sizes.

Historical Development

Early commercial origins in North America (1900s–1940s)

In 1904, Lena Himmelstein Bryant founded in , establishing the first retailer dedicated exclusively to plus-size apparel, initially emphasizing custom alterations, lingerie, and maternity dresses tailored for fuller-figured women. The company shifted from sewing for expectant mothers to standardized plus-size garments, capitalizing on the growing demand for options amid the early 20th-century transition from made-to-order clothing. By 1909, Bryant partnered with Albert Malsin, who introduced patented adjustable waistbands designed for "stout" bodies and conducted by surveying over 4,000 customers while analyzing anthropometric data from 200,000 female policyholders to standardize sizing for bust measurements of 44 inches and larger. This data-driven approach facilitated mass production of "stoutwear," with dozens of related patents filed in the and to accommodate proportions beyond standard misses' sizes (typically up to bust 36 inches). Lane expanded commercially by 1922, advertising "misses-plus-sizes" ranging from sizes 16 to 30 (bust 36 to 50 inches), and by 1927 popularized the term "plus-size" through taglines like "Misses’ Styles in YOUR Size," marking a deliberate rebranding from maternity origins to inclusive larger sizing. Commercial representation of plus-size figures emerged primarily through mail-order catalogs and print advertisements rather than high-fashion or agency modeling, which remained inaccessible to larger women until later decades. Lane Bryant's catalogs, such as the 112-page 1929 edition, showcased stoutwear via illustrations and photographs of fuller-figured women in dresses, undergarments, and outerwear designed for "slenderizing" effects, though by the , many ads employed unrealistic drawings or language emphasizing weight concealment over celebration. These materials targeted North American consumers via direct mail and adjuncts, laying the groundwork for plus-size commercial visibility but often reinforcing societal preferences for minimizing visible body size in visual depictions.

Post-war expansion and media emergence (1950s–1980s)

In the post-World War II era, plus-size fashion expanded through specialty catalogs and sections catering to fuller-figured women, reflecting increased consumer spending and varied body types amid economic prosperity. Companies like , which had pioneered "stout" sizing in the early , issued detailed catalogs such as the edition featuring apparel modeled by women in sizes up to 52, emphasizing flattering silhouettes akin to mainstream styles like full skirts and cinched waists adapted for larger frames. By the mid-, advertisements began applying the term "plus-size" to women themselves, as seen in a Korell ad describing a "plus-sized ," marking a shift from mere apparel descriptors to human representation in . The saw continued reliance on freelance arrangements, where larger women modeled directly for retailers and magazines without formal agency support, amid a industry prioritizing slim ideals but acknowledging a through illustrations and limited photography in plus-size sections. This period's fat-acceptance movements, influenced by broader social protests, began challenging weight stigma, indirectly fostering demand for visible representation, though options remained uninspired and segregated from high . By the 1970s, plus-size modeling professionalized with the establishment of dedicated agencies, transitioning from ad-hoc freelancing to structured representation. Mary Duffy, a former plus-size model, founded Big Beauties Little Women in 1977 as the first agency exclusively for plus-size and petite talents, operating on the premise that "big is beautiful" and securing bookings for clients in sizes 14 and above with retailers and catalogs. Wilhelmina Models, launched in 1967, also developed a plus-size division, enabling fuller-figured women to access print and commercial work amid growing market traction. The 1980s witnessed further media emergence as the plus-size segment gained terminology standardization—sizes 14 and up designated "plus-size"—and attracted high-end designers like Valentino and amid slumping luxury sales, prompting specialty boutiques such as Forgotten Woman and . Publications like BBW magazine, a precursor to Mode, catered specifically to the community with modeled features, while Vogue ran a rare plus-size advertorial, signaling tentative mainstream crossover despite persistent niche status. This decade's growth reflected causal demand from an underserved demographic, with agencies expanding rosters to meet retailer needs, though full integration into runway or editorial high fashion remained elusive.

Modern professionalization (1990s–2010s)

In the 1990s, the plus-size modeling sector began integrating into mainstream agencies, with Ford Models launching a dedicated plus-size division in 1998 and Wilhelmina Models expanding similarly during the decade, enabling greater access to commercial campaigns and catalogs for models typically sized 10 to 14. Emme Aronson, who entered the industry in 1989 via Plus Model Management and achieved prominence through Wilhelmina, emerged as the era's pioneering figure, becoming the first plus-size model named to People magazine's 50 Most Beautiful People list in 1994 and establishing herself as a supermodel with covers for Glamour and Redbook. These developments professionalized the niche by shifting from freelance work with retailers to structured representation, though runway access remained rare and plus-size standards often aligned closer to straight-size ideals than the average woman's measurements. The 2000s saw further institutionalization, with international expansion including Paris's first plus-size agency scouting talents like Velvet D'Amour in 2005, who debuted on Jean Paul Gaultier's runway in 2006 as one of the earliest high-profile plus-size appearances in couture. Dove's 2004 Campaign for Real Beauty amplified visibility by featuring unretouched women in sizes 6 to 12—larger than typical fashion models but below the U.S. average of 14—driving a 700% sales increase for the brand in the first year and prompting broader industry discussions on representation, though critics noted the models still conformed to relatively slim proportions. Print media milestones, such as Australian Cosmopolitan's first plus-size fashion spreads in May 2000, complemented this growth, fostering specialized bookings while highlighting persistent barriers like limited high-fashion integration. By the early 2010s, professionalization accelerated with increased runway inclusions, exemplified by designer Mark Fast booking multiple plus-size models including Camilla Hansen for his 2010 show, signaling tentative acceptance in prêt-à-porter circuits. Agencies like 12+ Models, founded in 2000 in the UK, further solidified infrastructure for sizes 12 and above, supporting catalog and work amid rising demand from brands targeting the plus-size market, estimated at 67% of U.S. women by apparel sales data. This era's advances, however, were uneven, as industry plus-size classifications frequently underrepresented true averages, reflecting commercial priorities over demographic realism.

Global Industry Landscape

North American agencies, media, and ventures

Major modeling agencies in the United States began incorporating plus-size divisions in the late . The first agency dedicated to plus-size and petite models, Big Beauties Little Women, was established in 1977 by former plus-size model Mary Duffy in , marking an early effort to represent women outside straight-size norms. launched its plus-size board, Ford+, in 1998, initially featuring model Emme as a key talent and expanding representation for sizes 12 and above. Prominent contemporary agencies include IMG Models, founded in 1987 and now operating plus-size divisions in New York and that book commercial and editorial work for models. , established in 1967, developed its Curve division to handle plus-size talent across its offices in New York, , and , emphasizing diversity in client bookings. Dorothy Combs Models, launched in 2005 and based in , specializes exclusively in and plus-size representation, with additional offices in New York and , managing over 100 models for catalog, , and opportunities. Other notable firms include CURV Management in New York, focused on inclusive talent since its inception, and Bicoastal Management, which handles plus-size models for national campaigns. In media, PLUS Model Magazine, a quarterly publication launched in 2005, features plus-size models in editorials and covers, promoting full-figured representation in fashion with a circulation targeted at style-conscious women sizes 12 and up. The Curvy Fashionista, an online platform founded in 2010 by Marie Denee, provides news, reviews, and model spotlights on plus-size industry trends, influencing digital discourse on curve modeling. Mainstream outlets have intermittently engaged, such as Vogue's 2023 feature on 18 curve and plus-size models active in New York Fashion Week runways. Canadian media coverage remains limited, with plus-size modeling often covered through U.S.-centric lenses or local brand promotions rather than dedicated outlets. Key ventures include Torrid, a U.S.-based retailer founded in 2001 that integrates plus-size modeling into its marketing, hosting in-house castings and campaigns for sizes 10-30, generating over $1 billion in annual sales by 2023 through direct-to-consumer channels. Full Figured Fashion Week, initiated in 2006 in by Gwen DeVoe, serves as an annual event platforming plus-size designers and models, attracting over 5,000 attendees and facilitating agency scouted talent. In , ventures like The Curvy Canadian directory, operational since around 2015, connect models to size-inclusive brands such as Hilary Macmillan, though dedicated plus-size agencies are scarce compared to the U.S. These entities have expanded commercial opportunities, with plus-size model bookings rising 20-30% in sectors by 2022, per industry reports, though editorial high-fashion integration lags behind.

European developments and agencies

Velvet d'Amour, an American model who relocated to in the mid-1990s, became one of the earliest prominent figures in European plus-size modeling by walking for designers such as Jean-Paul Gaultier in , which garnered significant media attention. She also modeled for and appeared in campaigns, contributing to initial visibility before specialized agencies emerged. The establishment of dedicated agencies marked a key development starting in the early . In the , 12+ UK Model Management was founded in 2000 as a leading agency representing curvy models for international brands. Models 1, one of 's largest agencies, expanded into curve representation following its 2011 merger with Excel Models, which specialized in plus-size talent. In , Curve Models launched in in 2011, positioning itself as one of the first agencies to promote plus-size models internationally across . Other notable agencies include IMM Models and Sandra Reynolds in , focusing on plus-size for commercial and editorial work, and Select Model Management's curve division in . German outfits like SHOWCAST and The Models further support plus-size placements in advertising and fashion throughout the region. Runway milestones accelerated in the late , with Dutch model achieving breakthroughs as the first plus-size walker for since 2010 during the 2020 show, and debuting for and , though such appearances remained rare. In , Marina Llorca became the first size 44/46 model for an established designer at Mercedes-Benz in September 2024. Despite these advances, plus-size representation at major European fashion weeks has been minimal, comprising only 1.13% of looks in 2018, with recent reports indicating a plateau or decline, such as London's count dropping to 26 in February 2025 from 80 the prior September.

Asia-Pacific and emerging markets

In , plus-size modeling has developed through specialized agencies such as WINK Models and Brooklyn Management, which represent curve and plus-size talent for commercial campaigns, e-commerce, and fashion editorials, with model sizes typically beginning at Australian 12 (equivalent to 8-10) and emphasizing proportional figures. Other agencies including Vivien's Models and Chadwick Models also maintain plus-size divisions, contributing to a niche but established sector amid broader industry pushes for diversity since the . Despite this infrastructure, Australian curve model Jennifer Atilemile stated in April 2025 that inclusivity efforts have regressed over the past decade, with fewer opportunities compared to earlier gains. Across East Asia, plus-size modeling remains underdeveloped due to entrenched cultural preferences for slender silhouettes, limiting mainstream agency representation and runway presence. In China, a small cohort of influencers like Amanda Yao, who launched a plus-size clothing brand in the early 2020s, promotes body acceptance via social media and e-commerce, though such figures constitute a minority amid dominant thin-ideal standards. Japanese model PS Kaguya has gained visibility in international high-fashion contexts since 2020, advocating for greater Asian plus-size inclusion, yet domestic brands like PLUMPRIMO struggle with limited sizing options reflective of broader market scarcity. In and Pacific regions, progress is similarly nascent, with isolated breakthroughs such as Sakshi Vasudev becoming Hong Kong's first South Asian plus-size model in 2025, focusing on balanced health alongside representation. Indian models often face categorization challenges, where fuller figures are marketed as "attractive" rather than explicitly plus-size, hindering dedicated industry segments as of 2021 data. Emerging markets in the broader , including parts of , show tentative growth via influencers rather than formalized agencies, driven by global but constrained by local norms favoring slimness over curves. Overall, the sector lags Western counterparts, with plus-size visibility comprising under 1% of regional runway shows in recent analyses.

Notable Figures and Achievements

Pioneering models and breakthroughs

Mary Duffy, a plus-size model active in the 1970s and 1980s, founded Big Beauties, recognized as the first modeling agency dedicated exclusively to plus-size women, marking an early institutional breakthrough in the field. Melissa Aronson, professionally known as Emme, emerged as the first plus-size in the early , securing high-profile endorsements and media appearances that elevated visibility for larger models. In 1997, she became the first plus-size model featured on the cover of Oprah magazine, and in 1998, she signed as the first plus-size spokesperson for cosmetics, while launching her own clothing line, EMME, on . These achievements challenged industry norms centered on sub-size-10 figures and helped normalize plus-size representation in mainstream advertising. Velvet d'Amour advanced breakthroughs through her runway work and advocacy, gaining global media coverage after walking for during in 2006, one of the earliest high-fashion platform appearances for a plus-size model of her size. As a pioneer in the size acceptance movement, she later founded Volup2 magazine in 2012 to promote plus-size fashion independently, countering limited mainstream coverage. Other early figures, such as Allegra Doherty and Amy Lemons, contributed to foundational progress by securing catalog and editorial work in the 1980s and 1990s, laying groundwork for later expansions despite persistent industry resistance to sizes beyond 14. These pioneers collectively shifted perceptions, though breakthroughs remained incremental until the , with agencies and brands slowly incorporating plus-size talent amid economic incentives from untapped markets.

Contemporary successes and milestones

Ashley Graham achieved prominence in the 2010s, signing with major agencies like and securing campaigns with brands such as Levi's and ; she became the first size 16 model to grace the cover of the Sports Illustrated Swimsuit Issue in 2016, marking a milestone in representation for fuller-figured women. Graham also appeared on covers of Vogue and Glamour, contributing to her status as one of the highest-paid plus-size models by 2020, with earnings reflecting broader industry shifts toward size diversity in advertising. Tess Holliday, signed to MiLK Management in 2011 as one of the first size 22 models with a major agency, featured in campaigns for brands like Lane Bryant and appeared on covers of People and Cosmopolitan; her advocacy through the #EffYourBeautyStandards hashtag amplified visibility for super-plus sizes in the 2010s. Iskra Lawrence, founder of the A-Game modeling agency, starred in a 2016 Glamour plus-size issue alongside Graham and walked for brands like Savage X Fenty, while securing campaigns with Olay and Billboard recognition as a body positivity influencer. In the 2020s, models like and advanced milestones, with Lee becoming the first plus-size model in a equivalent via the brand's 2021 inclusivity pivot and featuring in Vogue editorials; Elsesser debuted on Vogue covers and walked for designers like . Sports Illustrated expanded its roster, featuring Hunter McGrady, , and others in swimsuit issues from 2020 onward, though industry data indicates a plateau in runway diversity, with only select shows like Cecilie Bahnsen employing multiple curve models during 2025 . These achievements coincided with a reported 38% of 2024 fashion campaigns including plus-size representation, up from prior decades but still limited by sample-size production constraints.

Cultural and Societal Reception

Role in body positivity and diversity pushes

Plus-size models emerged as prominent advocates in the movement during the 2010s, leveraging and fashion campaigns to challenge longstanding thin-ideal standards that had dominated the industry. This period marked a shift where models with larger body sizes, often classified as sizes 12 and above, began featuring in advertisements and editorials promoting over . For instance, participated in body-positive initiatives such as LOVE's 2015 campaign, where she danced in underwear to emphasize , and Revlon's 2018 LIVE BOLDLY campaign, positioning her as a body activist speaking on image issues at conferences. These efforts aligned with broader diversity pushes, including Elle France's 2010 featuring fuller-figured models to reflect expanding consumer body types, signaling early industry acknowledgment of varied silhouettes. Key milestones included runway breakthroughs that amplified calls for inclusivity, such as designer Mark Fast booking curvy models like Camilla Hansen for his 2010 show and opening a straight-size presentation in 2015, the first plus-size model to do so. Such appearances contributed to initiatives like the rise of plus-size e-tailers such as 11 Honoré in 2017, which extended luxury runway designs to larger sizes, fostering a narrative of accessibility and representation. In and apparel, campaigns featuring unretouched images, like Graham's 2018 Swimsuits for All collection, aimed to normalize natural body variations, including , as part of self-empowerment messaging. These pushes extended to , where plus-size models' growing presence from the early onward helped democratize discourse, though academic analyses note persistent underrepresentation in high-fashion contexts. Empirical studies on exposure effects reveal that viewing plus-size models can mitigate negative weight-related attitudes and body dissatisfaction, particularly among women, with one experiment showing reduced stigma toward higher-weight individuals post-exposure compared to thin-ideal images. Another found greater body satisfaction and fewer social comparisons when participants viewed plus-size versus thin models, suggesting a potential counter to idealized portrayals' harms. However, outcomes vary by viewer body size and message framing, with larger discrepancies sometimes limiting benefits, as evidenced in content analyses of body-positive . In diversity contexts, these models influenced strategies toward inclusivity, yet data from 2010–2020 indicates only marginal increases in plus-size representation in magazines like Elle and , highlighting the pushes' uneven penetration despite advocacy. Recent reports confirm a plateau in size diversity as of spring/summer 2025, underscoring that while plus-size models drove initial momentum, sustained industry change remains limited.

Media representation and public discourse

Media representation of plus-size models has expanded in certain commercial domains while remaining marginal in high-fashion contexts. In advertising campaigns, plus-size models appeared in 38% of fashion initiatives in 2024, marking incremental progress from prior years, with brands such as Aerie (#AerieREAL, featuring unretouched images since 2016), Nike (plus-size athletic wear launch in 2017), and Calvin Klein (#CKPartners, incorporating diverse body types in 2019) integrating them to appeal to broader consumer bases. On social media platforms, plus-size models demonstrated rising visibility, with 144 such figures amassing 51 million followers and 190,000 posts by 2022, often promoting body acceptance through personal branding. However, runway participation has consistently hovered at low levels; during Spring/Summer 2025 fashion weeks across 208 shows, only 0.8% of 8,763 looks featured plus-size models (U.S. size 14+), down from slightly higher mid-2010s peaks amid body positivity pushes. Iconic milestones include Ashley Graham's 2016 Sports Illustrated Swimsuit Issue cover as the first size-16 model, which garnered widespread attention for challenging slim ideals but also sparked debates on whether it normalized larger bodies without addressing fitness. Public discourse surrounding plus-size modeling intertwines empowerment narratives with health and realism critiques. Proponents frame it as advancing , arguing that exposure to diverse sizes reduces body dissatisfaction and counters thin-ideal pressures, as evidenced by studies showing improved mood and attitudes post-viewing plus-size . Yet, critics contend this representation risks endorsing , a condition linked to elevated risks of comorbidities like and , by prioritizing aesthetic validation over motivational incentives for . Such views gained traction post-2023 with GLP-1 agonists like Ozempic normalizing , prompting backlash against prior inclusivity efforts as fleeting or performative, evidenced by declining slots for plus-size models in 2025 (e.g., only 9 of ~4,680 looks in recent seasons). Victoria's Secret's show revival, featuring plus-size and models after 2019 cancellations amid diversity criticisms, reignited polarized commentary: supporters hailed it as evolved inclusivity, while detractors labeled it insufficient or overly concessive to cultural pressures, reflecting broader tensions between commercial viability and ideological commitments. Discourse also highlights commodification risks, where body positivity—initially a grassroots rejection of media-driven norms—has been co-opted by brands for profit, diluting its focus on health autonomy and amplifying slim-adjacent "curvy" ideals over truly obese representations. Empirical data underscores representational gaps: despite 2010s gains via campaigns like Swimsuits For All's parody (2017), high-fashion persistence with 97.7% straight-size looks in Autumn/Winter 2025 signals that plus-size inclusion often serves as rather than systemic change, fueling about its absent economic imperatives. This meta-discussion reveals source biases, as mainstream outlets emphasizing empowerment may underplay health data from peer-reviewed studies, prioritizing narrative alignment over causal links between body glorification and public wellness outcomes.

Criticisms and Health Implications

Promotion of obesity and reduced health motivation

Critics contend that the visibility of plus-size models in media and contributes to the normalization of , potentially leading individuals to underestimate their own weight status and diminish efforts toward . A 2018 study analyzing data from over 34,000 adults in found that weight misperception—where or obese individuals viewed themselves as healthy weight—rose from 1991 to 2015, coinciding with cultural shifts toward accepting larger body sizes, with misperceivers 85% less likely to attempt compared to accurate self-assessors. This normalization, amplified by plus-size modeling's emphasis on celebrating bodies with BMIs often exceeding 30, may foster complacency regarding risks, as evidenced by reduced motivation for behavioral changes like diet or exercise in those exposed to body-positive messaging that prioritizes acceptance over modification. Obesity, defined by the as abnormal or excessive fat accumulation posing health risks (typically BMI ≥30), is causally linked to severe comorbidities including , , certain cancers, and premature mortality, with excess weight contributing to approximately 4 million global deaths annually as of 2015 data. In the United States, the Centers for Disease Control and Prevention report that adults with obesity face elevated risks for heart disease, , and disorders like depression, with obesity-related medical costs nearing $173 billion yearly. Empirical research indicates that campaigns, including those featuring plus-size models, can inadvertently lower incentives for weight control by enhancing body satisfaction without addressing underlying physiological drivers of , such as caloric surplus and sedentary behavior, potentially exacerbating trends where U.S. adult prevalence reached 42% by 2020. While proponents argue that such representation combats stigma and improves mental , first-principles reveals a : acceptance of elevated BMI may delay interventions that mitigate causal pathways to , as self-perceived normalcy correlates with sustained or worsening adiposity rather than reversal through evidence-based strategies like sustained energy deficit. Longitudinal underscore that accurate weight drives higher engagement in health-promoting activities, whereas normalization via media portrayals risks entrenching as a societal default, independent of individual agency. authorities emphasize that, absent countervailing on 's metabolic toll, the aesthetic elevation of plus-size figures could indirectly sustain epidemic levels, with global overweight prevalence tripling since 1975 per WHO estimates.

Industry inconsistencies and tokenism

The fashion industry's inclusion of plus-size models has been criticized as tokenistic, involving the superficial hiring of a limited number of such models to signal diversity without corresponding investments in production, sizing, or design for larger bodies. For instance, experts argue that featuring plus-size models on runways constitutes if brands fail to stock garments in those sizes, rendering the representation performative rather than substantive. This approach, often termed "fat-washing," allows brands to capitalize on rhetoric for marketing while maintaining thin-centric standards. Runway data underscores these inconsistencies: in Spring/Summer 2025 shows across 208 presentations, only 0.8% of 8,763 looks were modeled by plus-size (US size 14+) individuals, with representation dropping to 0.3% by Autumn/Winter 2025. Despite plus-size women comprising approximately 68% of female apparel consumers in the , their visibility remains marginal, often limited to one "token curve girl" per show, who faces logistical barriers like ill-fitting samples or segregated treatment. Sizing standards exacerbate this: "plus-size" typically denotes sizes 14+, yet model agency measurements for "curve" categories frequently align closer to size 10-12, creating discrepancies between labeled inclusivity and actual body diversity. Critics, including models and insiders, contend that such practices prioritize over equity, with plus-size hires often confined to or campaign roles rather than core collections, and facing persistent or exclusion from high-fashion tiers. Recent trends indicate a reversal, with plus-size modeling opportunities declining amid economic pressures, suggesting that diversity initiatives were transient responses to cultural pressures rather than enduring commitments. These inconsistencies highlight a gap between industry rhetoric and empirical market realities, where consumer demand for extended sizing clashes with inconsistent production and across brands.

Economic and sustainability critiques

Critiques of the economic aspects of plus-size modeling and fashion emphasize the sector's higher production costs compared to standard sizing, which undermine profitability despite optimistic market projections. Plus-size garments require substantially more fabric per unit—often 20-50% additional material depending on the style and size differential—driving up raw material expenses and complicating economies of scale due to lower production volumes and diverse sizing needs. These factors, including more intricate pattern-making and grading for extended sizes, result in elevated manufacturing overheads that hinder accessibility and growth, as noted in industry analyses projecting the global market at USD 315.27 billion in 2025 but acknowledging rising costs as a barrier. Recent market dynamics have intensified these challenges, with retailers scaling back plus-size offerings amid declining demand influenced by widespread adoption of GLP-1 weight-loss medications like , leading to "" where fewer units are stocked to mitigate inventory risks. Visibility for plus-size models has correspondingly diminished, dropping from 86 runway appearances in spring/summer 2020 to far fewer in subsequent seasons, signaling reduced returns and a potential "retail collapse" in dedicated lines. Critics argue this reflects overhyping of the segment's viability, as brands hesitate to absorb unrecouped costs without proportional sales uplift, particularly in luxury where custom tailoring remains the norm for larger sizes due to prohibitive expenses. Sustainability critiques focus on the amplified resource intensity of plus-size production, which exacerbates the industry's environmental footprint. Each plus-size item demands greater quantities of textiles, dyes, and during , contributing to higher per-garment emissions in a sector for 8-10% of global carbon output and significant . This material inefficiency clashes with principles, as excess fabric use in fast-fashion plus-size lines—often targeted at higher-volume consumers—accelerates waste generation and contributions, with limited integration of sustainable practices like recycled inputs or extended garment lifespans. Empirical assessments of apparel life cycles underscore that such scaled-up production amplifies impacts unless offset by durable, low-impact fibers, yet plus-size sustainable options remain scarce, perpetuating reliance on resource-heavy conventional methods.

Market Economics and Future Outlook

Growth statistics and consumer demographics

The global plus-size clothing market, which underpins demand for plus-size modeling, was valued at USD 311.44 billion in 2023 and is projected to expand at a (CAGR) of 4.1% to reach USD 412.39 billion by 2030. Alternative estimates place the 2023 market size at USD 579.8 billion, forecasting growth to USD 964.9 billion by 2033 at a CAGR of 5.3%, reflecting variances in scope across reports but consistent upward trends driven by increasing body size prevalence and retail inclusivity efforts. In the U.S., the plus-size women's segment alone reached USD 58.87 billion in 2023, expected to grow to USD 101.94 billion by 2032 at a CAGR of approximately 6.2%, supported by rising amid higher rates documented by health authorities. Representation of plus-size models in high-profile events has also increased, with such models comprising 26.4% of participants at major global shows in 2025, up from prior years, correlating with broader market expansion. Brands incorporating plus-size models in campaigns rose to 41% in 2025, indicating heightened commercial viability tied to the sector's revenue growth, though direct modeling agency revenues remain opaque and bundled within fashion industry aggregates. Consumer demographics skew toward women, who dominate purchases, with plus-size buyers representing over 65% of the U.S. apparel-purchasing due to size distributions where approximately 68% of women exceed sizes (typically sizes 0-4). Age-wise, individuals aged 16-59 account for 58.8% of plus-size apparel spending, reflecting peak earning and consumption years, while leads regionally with the highest per-capita demand linked to documented prevalence exceeding 40% among adults. Income levels among these consumers vary, but mid-tier earners drive volume sales in , the dominant category comprising over 50% of , as trends—empirically tied to factors like caloric intake and sedentary lifestyles—expand the addressable base without proportional shifts in .

Barriers to expansion and realistic projections

The expansion of plus-size modeling encounters persistent barriers rooted in industry preferences, economic constraints, and demographic shifts. representation has notably declined, with plus-size models comprising just 0.3% of looks in Autumn/Winter 2025 collections across New York, , , and Fashion Weeks, down from prior seasons amid a broader in size inclusivity. Similarly, Spring/Summer 2025 saw plus-size models in only 0.8% of looks, reflecting sustained prioritization of straight-size aesthetics in high despite earlier diversity initiatives. At , plus-size model bookings dropped from 80 in September 2024 to 26 in February 2025, signaling reduced demand and opportunities. The proliferation of drugs, such as semaglutides (e.g., Ozempic), poses a causal challenge by facilitating average weight reductions of 10% or more among users, thereby shrinking the plus-size consumer base and prompting some models to intentionally lose weight to compete in the expanding mid-size category. This "Ozempic effect" has led retailers to curtail plus-size and sizing options, citing anticipated demand erosion, which in turn diminishes modeling assignments tied to apparel campaigns. Economic hurdles compound this, including inconsistent sizing across brands that complicates production and sales, alongside barriers to retail shelf space and endorsements for plus-size-focused creators due to risks and perceived lower market viability. Plus-size models often face fewer bookings and variable earnings compared to straight-size peers, with some reporting reduced workloads despite niche demand in commercial sectors. Health-related scrutiny further impedes growth, as plus-size modeling's association with larger body sizes invites criticism for normalizing amid evidence of its substantial economic burdens—projected to consume 3.29% of global GDP by 2060 through associated healthcare and productivity losses. Cultural and political resistances to prior body-positivity efforts, including backlash against perceived overreach in inclusivity mandates, have contributed to this retrenchment, with insiders noting a "360 turn" in industry attitudes. Realistic projections foresee modest expansion confined to commercial and modeling, buoyed by a core demographic where 67% of U.S. women wear plus sizes (16-18 on average), but capped by entrenched high-fashion ideals favoring slimmer proportions for aspirational appeal. The underlying plus-size apparel market is expected to rise from USD 125 billion in 2025 to USD 202.4 billion later in the decade at a CAGR of approximately 5-6%, yet modeling's share remains niche, with participation unlikely to exceed 1-2% without fundamental shifts in or health trends. Sustained GLP-1 adoption could accelerate contraction in plus-size demand, fostering a hybrid future where mid-size models bridge gaps but true plus-size prominence wanes absent adaptations like specialized agencies or digital-first campaigns.

References

  1. https://www.sumissura.com/en-us/blog/what-is-plus-size
  2. https://www.brandonandrephoto.com/blog/plus-size-modeling-shift-in-body-image-standards
  3. https://slipintosoft.com/blogs/news/what-is-considered-plus-size
  4. https://vintagedancer.com/1900s/1910s-plus-size-fashion-history/
  5. https://fitanalytics.com/blog/the-evolution-of-plus-size-fashion
  6. https://www.statista.com/topics/4834/women-s-plus-size-apparel-market-in-the-us/
  7. https://www.mordorintelligence.com/industry-reports/plus-size-clothing-market
  8. https://www.voguebusiness.com/story/fashion/the-vogue-business-spring-summer-2026-size-inclusivity-report
  9. https://www.fashiondive.com/news/plus-size-not-a-trend/750017/
  10. https://www.cbc.ca/news/canada/british-columbia/obesity-plus-sized-models-1.3358377
  11. https://pmc.ncbi.nlm.nih.gov/articles/PMC6032838/
  12. https://www.sciencedirect.com/science/article/pii/S0005791624000351
  13. https://www.actorclass.com/blog/model-measurements-industry-standards-amp-the-transition-toward-diversity/
  14. https://www.dia.com/blog/fashion/decoding-plus-size-fashion-terms/
  15. https://coveti.com/what-size-are-plus-size-models/
  16. https://www.modelscouts.com/plus-size-modeling-agencies/
  17. https://www.modelsdirect.com/become-a-model/plus-size-models
  18. https://cmmodels.com/requirements-modeling-height-age-measurement/
  19. https://www.voguebusiness.com/story/fashion/the-vogue-business-spring-summer-2025-size-inclusivity-report
  20. https://fashionunited.com/news/fashion/study-reveals-most-common-complaints-of-plus-size-fashion-consumers/2023052454038
  21. https://www.miik.ca/blogs/news/plus-extended-and-straight-sizes-whats-the-difference
  22. https://www.mamamia.com.au/plus-size-model-rules/
  23. https://hurs-official.com/home/hur-thoughts/fashion-size-inclusivity
  24. https://www.backstage.com/magazine/article/model-measurements-75473/
  25. https://www.format.com/magazine/resources/art/plus-size-models
  26. https://etd.ohiolink.edu/acprod/odb_etd/ws/send_file/send?accession=kent1681999754886544&disposition=inline
  27. https://www.voguebusiness.com/fashion/the-vogue-business-autumnwinter-2023-size-inclusivity-report
  28. https://www.voguebusiness.com/story/fashion/the-vogue-business-aw24-size-inclusivity-report
  29. https://www.asustainablecloset.com/home/plus-size-is-not-a-trend-shocking-figures-of-representation-declining
  30. https://www.forbes.com/sites/joshwilson/2022/10/05/study-identifies-an-increase-in-plus-size-models-across-social-media/
  31. https://www.quora.com/Are-plus-size-models-paid-the-same-as-society-standard-models
  32. https://www.refinery29.com/en-us/body-inclusivity-in-fashion-2025
  33. https://www.dia.com/blog/know/plus-size-fashion-history/
  34. https://fashionhistory.fitnyc.edu/stout-fashion/
  35. https://archive.org/details/1_20221203_20221203_0843
  36. https://kristinasuko.com/2020/12/05/a-short-history-of-lane-bryant/
  37. https://vintagedancer.com/1950s/1950s-plus-size-fashions/
  38. https://www.metromodels.com/en/news/8432-plus-size-models-in-the-fashion-industry/
  39. https://www.upi.com/Archives/1984/01/24/Mary-Duffy-runs-model-agency-a-premise-big-is-beautiful/4727443768400/
  40. https://7dayschic.com/the-evolution-of-plus-size-modeling/
  41. https://www.businessinsider.com/plus-size-models-2013-5
  42. https://fashionista.com/2013/07/first-modeling-agency-devoted-to-girls-of-all-sizes-sets-up-shop-in-nyc
  43. https://www.mic.com/articles/184733/plus-size-model-emme-first-started-modeling-in-1989-28-years-later-she-made-her-nyfw-debut
  44. https://www.refinery29.com/en-us/2014/08/72326/emme-plus-supermodel-interview
  45. https://www.classicalite.com/articles/4925/20140104/skinny-velvet-d-amour-weight-gain-saved-plus-size-model.htm
  46. https://plus-model-mag.com/2011/01/photographer-reality-star-model-and-advocate-our-interview-with-velvet-damour/
  47. https://www.theguardian.com/media/2004/mar/29/advertising.marketingandpr
  48. https://www.bbc.com/news/magazine-20252921
  49. https://cases.open.ubc.ca/doves-real-beauty-campaign-body-positive-promotion-or-genderwashing/
  50. https://www.broadtheories.com/the-evolution-of-plus-size-fashion-from-limited-options-to-inclusive-designs/
  51. https://www.glamour.com/story/plus-size-models-fashion-month
  52. https://www.backstage.com/magazine/article/plus-size-modeling-agencies-76038/
  53. https://www.latitudetalent.com/single-post/16-best-plus-size-modeling-agencies
  54. https://www.wilhelmina.com/
  55. https://www.dorothycombsmodels.com/
  56. https://www.instagram.com/dorothycombsmodels/?hl=en
  57. https://www.curvmanagement.com/
  58. https://plus-model-mag.com/
  59. https://www.prcouture.com/plus-size-fashion-curvy-fashion-publications-pr-public-relations-pitch-tips/
  60. https://thecurvyfashionista.com/
  61. https://www.vogue.com/article/plus-size-models-you-need-to-know
  62. https://thecurvycanadian.ca/brand-directory-2/
  63. https://canoe.com/life/fashion/best-plus-size-brands-canada
  64. https://www.universityoffashion.com/lessons/plus-size-magazine-and-shows/
  65. https://www.ellecanada.com/fashion/inclusive-plus-size-fashion-canada
  66. https://www.theguardian.com/fashion/gallery/2013/feb/17/london-s-first-plus-size-fashion-weekend
  67. https://plus-model-mag.com/2007/03/velvet-d%25E2%2580%2599amour-opens-up-on-her-curvy-life-and-controversies/
  68. https://www.volup2.com/velvet
  69. https://www.12plusuk.com/
  70. https://www.models1.co.uk/women/curve/
  71. https://www.curve-models.com/about/
  72. https://www.immmodels.com/london/plus-size
  73. https://www.sandrareynolds.co.uk/categories/curve
  74. https://www.selectmodel.com/paris/women/curve
  75. https://www.showcast.de/en/plus-size
  76. https://www.the-models.de/en/plus-size-agency
  77. https://www.vogue.co.uk/fashion/article/jill-kortleve
  78. https://www.wmagazine.com/story/jill-kortleve-is-the-first-plus-size-model-to-walk-chanel-in-10-years
  79. https://www.surinenglish.com/malaga/marbella-san-pedro/marina-llorca-the-curvy-model-from-marbella-20240916080103-nt.html
  80. https://www.teenvogue.com/story/plus-size-models-lfw-protest-size-diversity
  81. https://www.cosmopolitan.com/uk/fashion/style/a68127368/fashion-week-plus-size-model-representation/
  82. https://winkmodels.com.au/curve-plus-size-models/
  83. https://brooklynmgmt.com.au/talent-category/curve/
  84. https://kateheussler.com/blog/how-to-become-a-plus-size-model-in-australia/
  85. https://www.starnow.com/magazine/article/best-plus-size-modelling-agencies-in-australia-77728/
  86. https://www.dailytelegraph.com.au/entertainment/sydney-confidential/top-australian-plussize-model-calls-out-fashion-industry-for-going-backwards-over-inclusivity/news-story/c74a30bac45772df4959fa2b85d3ea2d
  87. https://www.scmp.com/video/china/3289659/chinese-plus-size-influencer-challenges-beauty-standards-through-fashion
  88. https://www.teenvogue.com/story/plus-size-asian-models-say-the-industry-still-has-work-to-do
  89. https://www.pinterest.com/pin/905575437560152401/
  90. https://varsity.com.cuhk.edu.hk/index.php/2025/05/hong-kongs-first-south-asian-plus-size-model/
  91. https://mediaindia.eu/culture/pretty-plucky-but-not-plus-size-models/
  92. https://thecurvyfashionista.com/asian-american-pacific-islander-plus-faves/
  93. https://thecurvyfashionista.com/how-plus-size-models-are-challenging-runway-norms/
  94. https://thecurvyfashionista.com/plus-size-designers-pioneered-plus-fashion/
  95. https://naafa.org/blog-archive/fatshion-history-pt2
  96. https://www.prweb.com/releases/velvet_d_amour_releases_the_rebel_issue_of_vol_up_2/prweb13019640.htm
  97. https://www.cnn.com/style/article/plus-size-models-fashion-refinery-29
  98. https://www.refinery29.com/en-us/2018/09/210785/lus-size-modeling-movement
  99. https://www.msn.com/en-us/news/other/9-plus-size-models-who-changed-the-fashion-industry/ss-AA1KAIqZ
  100. https://www.vogue.com.au/fashion/news/these-are-the-most-famous-and-highest-paid-plussize-models-in-the-world/image-gallery/c56069b238e0213987a53beb4a392376
  101. https://www.dailymail.co.uk/lifestyle/article-3516212/Ashley-Graham-flaunts-hourglass-figure-covers-special-plus-size-issue-Glamour-sees-curvy-model-Iskra-Lawrence-star-stunning-spread.html
  102. https://thecurvyfashionista.com/sports-illustrated-plus-size-models/
  103. https://www.glamourmagazine.co.uk/article/fashion-month-plus-size-models
  104. https://thecurvyfashionista.com/plus-size-representation-in-fashion-ads/
  105. https://www.elle.com/fashion/celebrity-style/news/a32859/ashley-graham-love-advent-body-positivity/
  106. https://www.thebeautyinfluencers.com/2018/04/27/revlons-annual-nacds-party/
  107. https://www.theguardian.com/lifeandstyle/2010/mar/28/elle-models-france-plus-size
  108. https://www.bbc.com/culture/article/20191209-seven-ways-fashion-has-changed-in-the-2010s
  109. https://www.vogue.com/article/2010s-diversity-in-fashion-turning-point-timeline
  110. https://abcnews.go.com/GMA/Style/ashley-graham-debuts-unretouched-swimsuit-line-campaign/story?id=54886266
  111. https://www.bumc.bu.edu/camed/2022/07/18/bu-study-finds-plus-size-models-rising-presence-on-social-media/
  112. https://www.tandfonline.com/doi/abs/10.1080/03637751.2017.1332770
  113. https://pmc.ncbi.nlm.nih.gov/articles/PMC9589104/
  114. https://www.sciencedirect.com/science/article/abs/pii/S1740144525000956
  115. https://www.nationaleatingdisorders.org/6-empowering-ad-campaigns-are-changing-way-we-talk-about-bodies/
  116. https://nypost.com/2019/08/31/calvin-klein-is-using-plus-size-models-to-reinvent-its-brand/
  117. https://www.forbes.com/sites/susanadams/2016/02/17/under-30-ashley-graham-is-sports-illustrated-swimsuit-issues-first-plus-sized-cover-model/
  118. https://time.com/4224444/sports-illustrated-swimsuit-issue-cover-model-ashley-graham-interview/
  119. https://www.cambridge.org/core/journals/behaviour-change/article/she-should-not-be-a-model-the-effect-of-exposure-to-plussize-models-on-body-dissatisfaction-mood-and-facebook-commenting-behaviour/81173E3ABB76D858DCB5409BB5ED9E20
  120. https://www.maristcircle.com/opinion/2024/4/17/the-advertising-of-plus-sized-clothing
  121. https://www.theguardian.com/fashion/2025/apr/15/ozempic-arrived-and-everything-changed-plus-size-models-on-the-body-positivity-backlash
  122. https://www.theguardian.com/fashion/2025/oct/17/fashion-shows-fewer-plus-size-models-vogue-business
  123. https://www.boredpanda.com/victorias-secret-fashion-shows-return-sparks-debate-with-plus-size-trans-models/
  124. https://www.teenvogue.com/story/victorias-secret-2024-runway-show-promised-inclusivity-where-was-it
  125. https://www.bbc.com/news/articles/c20mvl3pr1vo
  126. https://journals.sfu.ca/stream/index.php/stream/article/download/203/180
  127. https://www.teenvogue.com/gallery/plus-size-fashion-body-positive-2017-highlights
  128. https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2019.00634/full
  129. https://www.who.int/news-room/fact-sheets/detail/obesity-and-overweight
  130. https://www.intechopen.com/chapters/73236
  131. https://www.cdc.gov/obesity/basics/consequences.html
  132. https://www.cdc.gov/obesity/adult-obesity-facts/index.html
  133. https://www.researchgate.net/publication/371612964_Understanding_Health_Behaviors_Weight_Perceptions_and_Body_Appreciation_of_Young_Adult_Women_Engaged_in_the_Body_Positivity_Movement
  134. https://onlinelibrary.wiley.com/doi/10.1002/osp4.424
  135. https://www.sciencedaily.com/releases/2018/06/180622104517.htm
  136. https://www.who.int/health-topics/obesity
  137. https://www.tatlerasia.com/style/fashion/fashion-thinness-plus-size-body-positivity-debate
  138. https://www.glamour.com/story/what-its-like-to-be-plus-size-and-work-in-fashion
  139. https://www.allure.com/story/plus-size-models-tokenism-in-fashion
  140. https://www-s3-live.kent.edu/s3fs-root/s3fs-public/GradSymposiumPoster.pdf?VersionId=7rb5_tbHzuGW7.fDF_HxaeuOepgJA9od
  141. https://thecurvyfashionista.com/7-myths-about-plus-size-fashion-that-need-to-disappear/
  142. https://www.queensizemagazine.com/fashion/study-reveals-most-common-complaints-of-plus-size-fashion-consumers
  143. https://one-six.com/why-plus-size-clothing-costs-more-to-produce/
  144. https://www.alliedmarketresearch.com/plus-size-clothing-market-A07966
  145. https://regent-row.com/blogs/smartshoppersguide/why-are-plus-size-clothes-more-expensive
  146. https://www.businessinsider.com/plus-size-clothing-ozempic-glp-1-weight-loss-drugs-shopping-2025-7
  147. https://www.forbes.com/sites/virgietovar/2025/07/12/the-psychological-cost-of-the-plus-size-retail-collapse/
  148. https://www.reddit.com/r/femalefashionadvice/comments/vgy97u/what_are_the_reasons_why_luxury_labels_typically/
  149. https://www.genevaenvironmentnetwork.org/resources/updates/sustainable-fashion/
  150. https://www.bbc.com/worklife/article/20200211-selling-plus-size-clothing-isnt-only-about-pleasing-shoppers
  151. https://whsvikingtimes.com/2716/opinion/capitalism-and-the-plus-size-industry/
  152. https://www.sciencedirect.com/science/article/pii/S219985312400074X
  153. https://alahausse.medium.com/lack-of-plus-size-representation-in-sustainable-fashion-a945beb486f3
  154. https://www.grandviewresearch.com/industry-analysis/plus-size-clothing-market-report
  155. https://www.credenceresearch.com/report/us-plus-size-womens-clothing-market
  156. https://bestcolorfulsocks.com/blogs/news/plus-size-model-statistics
  157. https://www.buxtonco.com/blog/redefining-fashion-plus-size-apparel-takes-center-stage
  158. https://thecurvyfashionista.com/mind-your-market-why-plus-size-consumers-hold-untapped-buying-power/
  159. https://www.marketresearchfuture.com/reports/plus-size-clothing-market-20671
  160. https://www.voguebusiness.com/story/fashion/the-vogue-business-autumn-winter-2025-size-inclusivity-report
  161. https://www.glossy.co/fashion/how-will-weight-loss-drugs-like-ozempic-affect-the-plus-size-fashion-industry/
  162. https://www.cnbc.com/2025/09/12/weight-loss-drugs-ozempic-zepbound-glp1-apparel-clothing-sizes.html
  163. https://foundryjournal.net/wp-content/uploads/2025/03/13.FJ25C587.pdf
  164. https://thecurvyfashionista.com/why-plus-size-entrepreneurs-struggle-to-secure-retail-shelf-space/
  165. https://www.brandonandrephoto.com/blog/do-curve-models-make-less-than-money-than-traditionally-sized-models
  166. https://pmc.ncbi.nlm.nih.gov/articles/PMC9494015/
  167. https://www.forbes.com/sites/dougmelville/2025/09/14/nyfw-with-67-of-american-women-being-plus-size-meet-the-designer-fighting-for-full-size-fashion/
  168. https://www.gminsights.com/industry-analysis/plus-size-clothing-market
  169. https://www.newsweek.com/ozempic-destroying-plus-size-fashion-1917184
Add your contribution
Related Hubs
User Avatar
No comments yet.