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And Comfort Is a New Affordable Plus-Size Clothing Brand for Minimalists


And Comfort was born out of a deeply personal experience: Karine Hsu wanted to make clothes her mom could wear, after seeing the lack of options for her in the mainstream market. After working with several plus-size fashion brands at a financial firm in San Francisco, she realized the lack of quality clothing in extended sizes affected more than just her mother. So, she and her friend Jeffrey Zhao joined forces to address this glaring hole in the retail space.

Hsu is the founder and CEO of And Comfort, while Zhao serves as its creative director and co-founder. The brand, which launches today, offers a wonderfully minimalist line-up of wardrobe staples that focus on quality, clean design and inclusive sizing. There are four pieces at launch: a mandarin collar tunic, a classic tee, an apron dress, and a midi-length wrap skirt. All are available in sizes 10 through 28, and are priced between $45 and $140.

PHOTO: Courtesy of And Comfort.

Over the past few years, there have been companies leaning into specific niches in the plus-size fashion space: Premme delivers on trend-driven pieces, while Universal Standard offers luxe everyday essentials. And Comfort enters the market with a commitment to using high-end fabrics and a thorough fit process.

“It took a lot of time to source our fabrics—which we found in China—and it took time to create them as well,” says Hsu, who was adamant about using premium materials, like organic cotton poplin and pima cotton. “We worked hard on it, and as we source fabrics for future pieces, we’re committed to using cotton and even Tencel or other sustainable fabrics that we can find.” The problem with cotton, they found, was its lack of stretch; the solution was to weave in elastane to achieve the desired level of comfort without compromising the integrity of the material.

PHOTO: Courtesy of And Comfort.

Hsu and Zhao then fit-tested each And Comfort style on 18 different women—some influencers, some people that Hsu had met at plus-size fashion conferences—across the plus-size spectrum for feedback. She recalls the models marveling at the pieces’ wearability: “They would put on the garment, smile, and say, ‘[Oh my God], this fits so well,’—it was one of the most rewarding experiences I’ve had. The response has been overwhelmingly positive so far.”

PHOTO: Courtesy of And Comfort.

The And Comfort team specifically wanted to see the pieces on a range of body shapes and sizes, as opposed to following the industry-wide practice of only fitting on a size 16 model, at this stage of the design process. This community-driven approach allowed Hsu and Zhao to really consider and problem-solve every issue, like adding adding more fabric to prevent the button-down from gaping or creating side vents on the tunic to accommodate different people.

And Comfort launches with four pieces, but plans to roll out one or two new styles every month. (Expect more dresses in the next drop; for fall, sweaters and coats.) As for the future of the brand, Hsu says it hopes to offer sizes beyond 28.

PHOTO: Courtesy of And Comfort.

Oh, and Hsu’s mom—really, the inspiration behind this all—is into the brand’s offerings.

“My mom grew up in Taiwan, so she has a more minimalist, Asian-inspired style, which has been hard for her to find in her size—she’s very excited about the pieces we’re making,” says Hsu. “I believe every woman deserves access to fashion, no matter their size, and we hope to become the go-to place for minimalist plus-size essentials.”

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Ashley Nell Tipton Is Launching Her Own Plus-Size Clothing Line


Though Ashley Nell Tipton won season 14 of Project Runway back in 2015 and later designed a plus-size line in partnership with JCPenney, today marks the first time she’s putting out clothing into the world that she 100 percent believes in.

“With the other collections, I was designing for other people’s customers,” Nell Tipton tells Glamour. “This time around, I really wanted to design for my audience—and for myself—with no limits.” The result is a collection of black and floral body suits, sweeping skirts, biker shorts, and sheer dusters. The designer says it’s the first time she’s been able to make “a line of items that I see in ‘regular sizes’ and dreamt of wearing myself.”

PHOTO: Trevon James

Nell Tipton and model Margie Ashcroft wear the April bodysuit, available for $39 at ashleynelltipton.com.

Nell Tipton originally debuted on the retail landscape through a collaboration with JCPenney in 2016, shortly after her Project Runway win. Ashley Nell Tipton for Boutique+ consisted of four collections, dropping over 18 months. The retailer’s demographic wasn’t as fashion-forward as the designer would have liked. Now she’s able to take “risks” she wasn’t able to there—in place of leather jackets, jeans, and tees that say “Love You,” there’s sheer and mesh. The big difference, in her opinion: The customer is less conservative.

The launch of her eponymous brand is a huge feat, and it didn’t come easily. Nell Tipton had to get a refresher on how to build a line and navigate building a business for the first time. “The past couple of years working with JCPenney, I had lots of resources and worked with huge teams,” she explains. “[Having my own label] was an exercise in playing roles I wasn’t used to. I had to be the designer, the pattern maker, the sewer, and the fit model.” She also had to source her own production: “Finding the right manufacturers and teams to work with is key. I had limited [financial] means and really had to work within them. I didn’t want to let the costs affect my designs, so I had to be very resourceful.” Another challenge, says Nell Tipton, was her age: At just 26 years old, the designer says some industry folk questioned her knowledge as a result of her youth.

Throughout the entire process, Nell Tipton says she “was going through a lot personally.” This year, the size-22 designer had weight loss surgery and was dealing with an ever-changing body. “I was at my heaviest when I started designing this collection and my weight has obviously changed since then,” she says. That change did, in fact, affect the way she designed these pieces. “Because of the fluctuation, I was really paying attention to fabrics that had stretch,” she says. “I was focused on how the pieces move and how they’d work for different body types. I wanted to be able to accommodate everyone and I wanted everyone to be comfortable. Beauty and fashion is not pain!”

PHOTO: Trevon James

“I invited Margie over to see the collection and we just started playing dress-up,” says Nell Tipton. “She put on her music and we just went for it.”

But that’s not the full story behind the collection’s basic theme. The designer believes that while the plus-size industry has come a long way, it’s currently focused on giving shoppers above a size 14 as much trend as possible. “There aren’t many [brands] that do basic wardrobe staples well,” she says, then nodding to the fact that a lot of plus-size apparel is made from cheap fabric. “Because I had full control, I was able to really find fabrics that worked [best for basics].”

When the site, ashleynelltipton.com, launches today, this inaugural 15-piece collection will be available in sizes 14 to 30, with prices ranging from $24 to $99. There will also wide-fit jewelry and eyewear up for sale. Next, Nell Tipton says she’d like to, “venture out into men’s and children’s lines to fill the gaps of the plus-size industry—it shouldn’t just stop at women’s.” Somebody get this girl an investor!

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Danielle Brooks Launches Plus-Size Clothing With Universal Standard



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Danielle Brooks Launches Plus-Size Clothing With Universal Standard


If you could design three pieces that you wish you had in your closet, but can never find, what would they be? That’s the question that Universal Standard asked actress Danielle Brooks before collaborating with her on a three-piece capsule collection, which launches today.

The plus-size brand used the same concept when it collaborated with models Candice Huffine, Georgia Pratt, and Katy Syme earlier this year. Universal Standard tapped Brooks next because it loved her “beauty, energy, and style,” explains co-founder Alexandra Waldman. As for the actress, she says she knew the match was right “when Alex told me about Universal Fit Liberty,” Universal Standard’s policy by which you can exchange any of its garment for a new size within a year. “Their headspace is moving us forward, as women first before we are a size,” adds Brooks. “I was like yes, this is a brand that I want to be a part of. Now, it’s crazy to finally have clothes out there that I designed. That never ever crossed my mind when I was a teenager, shopping at Walmart looking in the men’s section.”

The collection is short and sweet, made up of just a pair of overalls, a pleated shirt dress, and an off-the-shoulder sweater dress. “When they told me [the concept] I had just gotten off of a plane,” says Brooks. “I was thinking, ‘You know what could be cool? Having something that is transformable.’ I chose the off-the-shoulder dress, because I felt like this is something I was just comfortable wearing. So if I’m on a plane and I want to be casual, then I step [out of the airport] and there’s paparazzi in my face and I want to feel a little more glamorous, I can take this dress either direction.”

PHOTO: Heather Hazzan

The Dani Sweater Dress “The sweater dress will always be a statement piece,” says Brooks. “And the one we’ve created goes a few steps further than your everyday dress. With this piece, you are able to dress it up, dress it down, wear it off the shoulder, and even rock it as a chic hoodie. It’s what every woman will be looking to wear for fall.” ($190, in aubergine or black, Universal Standard)

Up next: the overalls, which are specially designed for a curvy frame. “I remember looking in the men’s section for overalls because there were none that would properly fit me in the hips and waist in the women’s section,” says Brooks. The pair also has elevated hardware, which makes it easier to pair with heels for a day-to-night look.

PHOTO: Heather Hazzan

The Brooks Overalls “The overalls were a no-brainer,” says Brooks. “For years I have looked for a pair of overalls that weren’t too baggy in the crotch, that presented some type of wow factor and that wasn’t too long in the body. This one will be sure to satisfy every woman who has felt like me.” ($120, Universal Standard)

Finally, there’s a pleated shirt dress, which comes in the below pink and crisp white, and was inspired by Solange Knowles. “There was a shirt I saw her wear that I wished that I could have worn,” says Brooks. “And I was like oh, I can make it! The shirt dress is very similar to that outfit [of hers].”

PHOTO: Heather Hazzan

The Danielle Shirt Dress “The shirt dress was inspired by one of my fashion icons, Solange Knowles,” says Brooks. “Too often, I’m not able to wear the cool unique statement pieces that I see because they never run in my size. This piece will have people asking you, ‘excuse me, where did you get that?’” ($110 in black, rose, or teal, Universal Standard)

We’ve all heard that, when it comes to designing plus-size clothes, there are certain nuances that can make the process difficult: You can’t simply grade up designs, for instance; pieces have to accommodate increasingly varied body shapes (i.e. why elastic waistbands still exist); and that extra material can get super expensive. But for Brooks, the biggest learning curve was how to work with fabrics: “You know, what fabric will fall right, what fabric will lay right on the body, what fabric will work around the armpit versus the ankle. I like to wear my undergarments and cinchers, and a lot of times you can see the imprint of them under the garment. It was all about the fabrics.” (FYI: the shirt dress is made of a cotton-nylon-elastane blend, the sweater dress is made of a wool-cashmere blend, and the overalls are made of a cotton-elastane blend.)

If you’re a fan of Brooks’ style (or follow her on Instagram), you probably know she’s tight with some designers. “For the past few years, it was very important to me to challenge these designers that won’t even have plus size shoes, bring plus sizes to stores,” she says. “Now that I’m starting to enter into [the fashion] world on a deeper level, I’m starting to realize: Who cares about them?” she says, of the designers who haven’t dressed her. “They never cared about me.” When it came time to design, Brooks asked a simple question: “Why not focus on brands that are actually—from the beginning—cared about making me feel good in clothes?” And she wasn’t done with the real talk there: “I have gone to fancy events and confronted huge designers and said like, ‘Hey, like why haven’t you designed for plus sizes?’ And they go blank. They don’t even know if they have a plus size line or not! And that tells me right there that they don’t care.”

Though Danielle Brooks for Universal Standard launches today, the brand had a 24-hour flash sale with the collection that performed well. “The overalls are slightly outperforming the dresses,” says Waldman. Brooks adds: “The one I thought that people weren’t gonna gravitate towards the most people actually are. People are loving the shirt dress.” Get one while you still can!

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Plus-Size Model Tess Holliday Just Clapped Back at Trolls Telling Her How to Work Out


She’s shot some seriously gorgeous pics for high-profile brands, but model Tess Holliday has also unfortunately had to deal with an unfair share of trolls in this Twitter age. She’s clapped back at online haters who accuse her of living an unhealthy lifestyle, and she’s even boycotted Uber because of an incident where a driver fat-shamed her. Now she’s an author and an advocate for size inclusivity in fashion—so when people start commenting on her body and telling her how to live her life, she’s not afraid to call them out.

Holliday posted a series of videos of herself at the gym on Friday and the comments blew up thanks to rude Internet lurkers. She reposted a few choice comments in a new Instagram post with a cutting caption, “Y’all just can’t handle seeing someone in a plus size body that isn’t deemed desirable by societies standards THRIVING & it kills y’all. Worry about your own life?? #FUCKYOURBEAUTYSTANDARDS #thenotsosubtleartofbeingafatgirl”

Unless you’re Holliday (or her trainer), it’s no one’s place to tell her—or anyone else—how to work out and what to do with her body. She posted videos of herself working out and was met with criticism and hate rather than love and support. That’s no way to talk to anyone, but thankfully she’s strong enough to call her haters out.

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Kate on 'This Is Us' Is Great—Now Let's Stop Other-ing Plus-Size People


There were two pinnacle scenes in the first season of This Is Us: the close-up shot of Milo Ventimiglia’s butt—which broke the Internet for obvious reasons—and the moment where Kate Pearson, played brilliantly by Chrissy Metz, stepped on the scale and weighed herself, completely naked.

It’s a scene that touched millions of viewers for its vulnerability and authenticity. Kate even took her earrings off to ensure she was as light as possible on the scale, a neurotic ritual many people who’ve struggled with weight know too well (including myself—I remove my glasses). What transpired for the rest of the season was a weight-loss journey so brutally honest and relatable that it brought tears to my eyes on several occasions. Kate’s anxiety about flying, her apprehension about walking up long flights of stairs, her fear of strangers mocking her at parties: These are all emotions familiar to most plus-size people. Emotions that had never been explored on television—not with this level of empathy, at least.

Because up until this point plus-size people on TV weren’t people: They were two-dimensional caricatures designed for cheap laughs and ridicule. The Fat Best Friend was allowed to exist, sure, but she wasn’t given a love interest or any real personality. Oh, and her weight had to be referenced—usually in some kind of mean, wisecracking way—to imply bigger people deserve to be demeaned and humiliated.

That was the (awful) message pop-culture sent for years, but then This Is Us came along and presented a woman whose body and weight issues weren’t the butt of some joke. They were handled with sensitivity and kindness and decency. It sounds cheesy, but Kate’s storyline on the show truly was groundbreaking.

But it’s also only the jumping-off point. 2017 was all about representation in entertainment: queer representation, people of color representation, female representation, and, yes, plus-size representation. Granted, the majority of TV shows and movies are still about white, straight men, but we’ve certainly made progress. To keep moving forward, though, representation has to become normalization: having lots of different characters exist harmoniously without the things that make them different being, well, “things.”

Our culture, at this point, is still programmed to view plus-size people as “other.”

On This Is Us, Kate’s weight is still very much a “thing.” It’s understandable why. Our culture, at this point, is still programmed to view plus-size people as “other.” If Kate’s storyline didn’t mention her weight, fans would’ve talked about it, probably cruelly, and asked why the show wasn’t addressing it. Instead, we saw a three-dimensional character like Kate that addressed her body image issues head on.

And tackling Kate’s weight directly, oddly enough, caused viewers not to think about it so much. After a full season of the show, they’ve fallen completely in love with Kate and are now just invested in her story—wherever it goes. Weight-related or not. It doesn’t matter anymore.

Maybe This Is Us needed to acknowledge the thing that made Kate “other” and talk about it so much that it was no longer “other.” Addressing Kate’s weight directly, but empathetically, destroyed certain expectations and biases toward larger-bodied characters on screen. It humanized her. It normalized her. Now, she’s simply a character existing in the world. But it’s frustrating people wouldn’t have accepted that from the start.

Going forward, though, larger-bodied characters shouldn’t have to obsess about their weight or hate their bodies to be understood. Their mere presence on a show shouldn’t be heralded as “groundbreaking,” “important,” or “inspiring.” Those words suggest it isn’t normal to have them. It still “others,” just on the opposite side of the spectrum, and that’s exactly what we’re trying to avoid. We needed this language before This Is Us—and Kate did move the dial forward in many ways—but we shouldn’t need it anymore.

Take, for example, Will & Grace. When the show debuted in 1998, gay characters in pop-culture were still rare and often written as stereotypes. Will Truman and Jack McFarland were two of the first ones on TV who didn’t have some kind of inner turmoil about their sexualities. They were two successful, hilarious guys who happened to be gay. It was pioneering. It needed to be called out and celebrated, so we did—but now gay men are much more a part of pop culture’s fabric. Look at Kevin Keller on Riverdale for a recent example; his sexuality isn’t explicitly mentioned on the show, and he doesn’t struggle with it. He’s just gay.

True “representation,” if we still want to call it that, will happen when we stop talking about it—and just start seeing it.

It took years for Hollywood to be comfortable with that—years of gay characters struggling with HIV/AIDS, coming out, bullying, and essentially every other stereotypical narrative. Gayness—like weight on This Is Us—had to be explicitly mentioned over and over in a humanizing way for mainstream audiences to not see it as different. Just like Sophia Burset’s transgender backstory was necessary in the first season of Orange Is the New Black but has slowly became less discussed as the show continued. Hopefully, we’ll soon reach a place where trans actors can tell trans stories that aren’t only about transitioning.

Of course, there can still be gay characters who come out and plus-size characters who struggle with weight, but these narratives don’t need to be the first points of entry. It’s important not to erase characters’ backgrounds, hardships, and identities; everyone’s lived experiences are nuanced and different, and that should be reflected in the entertainment we watch.

But queer characters, Black characters, Latina characters, plus-size characters, and anyone else who has been othered shouldn’t have to be written as archetypes in order for America to get on board. They deserve the full spectrum of human emotion. Yes, sometimes that’s dealing with very real issues like racism, size-ism, and homophobia; those shouldn’t be ignored because they still exist. Other times, however, the biggest problem of the day is letting someone on Tinder know you’re not interested. We rarely see plus-size characters deal with conflicts like that without some kind of stereotypical subplot attached—but it’s about time we did because that’s how the world works…and looks. Authentic stories about all sorts of people should be expected now—and not lauded as something revolutionary.

True “representation,” if we still want to call it that, will happen when we stop talking about it—and just start seeing it.

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Here's What Happened When Three Plus-Size Fashion Brands Went to NYFW


This season, New York Fashion Week was a revolutionary one for size diversity: Overall, Glamour counted 208 appearances by models above sample size—a number largely inflated by the presence of three major plus-size brands. Canadian retailer Addition Elle debuted its latest collaboration with Ashley Graham, as well as a capsule with model Jordyn Woods at Skylight Clarkson Square, one of the week’s official venues; fast-fashion brand Torrid also presented at Skylight; and subscription service Dia & Co. hosted its show as part of CurvyCon, a size-inclusive fashion conference happening concurrently to NYFW.

Progress, yes—but as an editor who spends half of her time in the realm of high-fashion and the other half in the world of plus-size fashion, I can tell you that the disconnect between these shows and the rest of New York Fashion Week was real. Although two of three plus-specific brands showed at the same venue where Prabal Gurung and Anna Sui presented their Spring 2018 collections, had top hair and make-up teams, and cast well-known models like Graham, Precious Lee, and Georgia Pratt, all three were left off the “official” schedule, which is manned by the Council of Fashion Designers of America (CFDA).

The fact is, anyone can host an event between September 7 and 13 in New York and say it’s part of Fashion Week. But to be accepted onto the verified schedule is quite exclusive. It’s a technicality, but it’s one that’s important to signal legitimacy and acceptance—and to get the industry to show up.

When I called the CFDA hear their reasoning behind the brands’ exclusion, Marc Karimzadeh, the organization’s editorial and communications director, told me that neither Addition Elle, Torrid, nor Dia & Co. applied to be on the Schedule. Translation: It’s not on the CFDA. But if you’re a realist like me, you’re probably thinking: Even if those plus-sized brands did apply, it’s not likely any of the three would be accepted.

“Typically, we don’t put designers who haven’t shown before on it,” says Karimzadeh of the Official Schedule. “We didn’t even for Sies Marjan.” (Fashion fans know that the CFDA not giving Sies Marjan—a buzzy line designed by Dries Van Noten’s ex-designer and was nominated for the Swarovski Award for Emerging Talent at the organization’s very own award show this year—a spot on its schedule is pretty nuts.)

“There are various factors that contribute to qualification,” says Karimzadeh. “Among them: two years in business, an active list of wholesale accounts, inclusion in editorial coverage.” And the toughest factor for fast-fashion and mass-market brands: the quality of the goods. “In order to have credibility, you have to have a product that can stand with the best of other designers,” says Karimzadeh, though the CFDA wouldn’t go into specifics as to what that entailed.

If you’re a believer in true integration for straight- and plus-size clothing, the CFDA’s stance is kind of a double-edged sword. On one hand, it’s hard to see how a plus-size brand’s garments would ever compare to a label like Sies Marjan, given the systemic issues facing plus-size clothing—like lack of design education, absence of resources like bigger mannequins and looms, low price points, and other challenges in achieving the correct fit for a diverse set of bodies. And on the other: It’s refreshing to hear Karimzadeh hold mass-market plus-size brands to the same standard as a onetime Dries van Noten designer.

But this really isn’t about the CFDA—it’s about the Addition Elle, Torrid, and Dia & Co. And I wanted to know what they thought about the disconnect. So what did their brand representatives say when I asked if they cared about being excluded from the Official Schedule? For the most part, they DAGF. Each of the women said that the shows they hosted weren’t for buyers or to gain access to fashion’s inner circle, but for their customers. “The plus-size community has been ready for a long time to participate in fashion week,” says Nadia Boujarwah, co-founder of Dia & Co. “And we are doing our part to make sure that’s possible for her.”

Read on to find out what else motivated their shows and why—for them—the customer is queen.


Dia & Co.: Community First, Then Clothes

The first plus-size brand to host a fashion show during NYFW was Dia & Co., which presented during CurvyCon. The convention, organized by bloggers Chastity Garner and Cece Olisa, billed itself as “a two-day event that brings plus-size brands, fashionistas, shopaholics, bloggers and YouTubers into one space to chat curvy, shop curvy, and embrace curvy.”

For its runway debut, Dia & Co. recruited some well-known plus-size models, including Marquita Pring. “There’s a strong sense of community,” Pring said backstage. “Everybody’s so excited to be here. And we’re all here for the same reason: to put curves out there. The energy is infectious.” The ‘good vibes’ atmosphere was refreshingly palpable: As models made their way down the runway, the crowd cheered and called out the pieces they were planning on buying. In terms of how this stands up to the rest of NYFW, Pring—who’s previously walked for high-fashion designers Prabal Gurung and Tome—says it simply doesn’t. “There’s nothing that compares to Curvy Con,” she says. “This is where everybody comes together.”

The runway also set the stage for an open dialogue with consumers—after the show, Pring spoke on a panel alongside Nadia Boujarwah, Dia & Co.’s co-founder; Fern Mallis, Stacy London, and Emme Aronson.

As far as why a brand like Dia & Co. would do this for the customer—it’s an expensive marketing tactic, plus Curvy Con was sponsored by the company—Boujarwah says it gives women a chance to be included in part of the highly-publicized event that is NYFW, and, thanks to Dia’s “see now, buy now” model, it allows them to shop directly for clothing they see on the runway.

And, it’s worth noting, they’re trying to make the clothing better than the usual plus-size fare. Dia & Co. introduced its first designer collaboration with Nanette Lepore; debuted a capsule with Tanesha Awasthi of Girl With Curves; and though not involved in the making of it, put Rebel Wilson’s new collection on display. On a bigger scale, Dia & Co.’s NYFW event was meant to help move the needle forward in terms of options. “What we showed is the vision for what true size inclusivity in fashion is,” Boujarwah said. “So far, we’ve had conversations with people from mannequin manufacturers and form manufacturers to design schools and design educators to aspiring designers. We’re setting up the future, so that in five, ten, fifteen years, all designers come into the industry with size-inclusive clothing as a norm.”


Torrid: Pics Or It Didn’t Happen

At Torrid, the energy was more turned down than at Dia & Co., likely because of the lack of actual customers and community members in the audience. When I grabbed Liz Munoz, the brand’s Senior Vice President of product, for an interview backstage she made it clear the brand’s motive was optics. “How many images of a girl that’s big do you ever see walking a runway?” she asked. “I know it’s a first for me. This is a powerful moment to put something out there for America to see what plus fashion can look like.”

Sure, that sounds like a noble cause—but a whole fashion show just to get pictures? To Munoz and her team, “the trickle-down effect,” as she called it, makes it worthwhile: “We get new designers [at Torrid] that have to fit on a girl who’s a size 18, and they’re always like, ‘I can’t picture it,’—because there’s no picture of it. Because there are no images out there.” According to Munoz, that lack of reference imagery also affects the way that women above a size 14 are able to dress. “It’s not because they’re not bright or that they have no fashion sense, it’s just that it’s hard to relate when you never see fashion images [of someone like yourself],” she explained.

Munoz also knows that when there are images for the customer to go back to, she shops better. “That’s why one of our biggest things in marketing [at Torrid] is a monthly mailer,” she said. “It has thirty pages of looks and our customer comes into the stores and goes I want that.” Now, if you came up in the Internet age, you likely thought mailers were a thing of the past (I know I did). Then again, you may think the same about Fashion Week—when I suggested that the conceit of a runway show felt outdated to Munoz, she agreed, but argued: “I think our presence here is more symbolic than anything—it’s a ‘fuck you’ to everybody who says we’re not good enough.”

Hosting a proper fashion show also gave Torrid a platform to showcase its model search, which narrowed down 15,000 applicants to a top ten, who then walked down the brand’s runway. A positive outcome of the program is that it provided a cast of women who were visibly plus-size, as many brands that cater to this demographic are receiving an increasing amount of scrutiny for not using actual plus-size women in its marketing and e-commerce. (FYI, “plus-size” models generally range between a size 12 and 14. And some brands they model for don’t even make sizes small enough to fit them.) “Our girl wants to see herself,” she says. “So we made sure to have girls up to a size 22.”


Addition Elle: Getting Legit

“We’re finally on the real menu of New York Fashion Week,” Roslyn Griner, Vice President of Marketing and Visual Display at Addition Elle, said of the brand’s first turn at Skylight Clarkson Square. Their previous two shows were part of Kia Style 360 and, “this was kind of like being on Broadway instead of off-Broadway,” she said. “We want to deliver fashion democracy where style isn’t limited by size. And to me, fashion democracy meant I had to be on the main stage, where mainstream fashion is being shown.”

Before Addition Elle could swim with the big fish, though, Griner said the brand had to up its garment game. “I wanted to get us to the next level—the last two shows, we’ve kind of just shown what we had,” she says. “This show, the merchants designed a collection that was specifically for Fashion Week.” To build on that, the brand also adopted a new merchandising strategy: it’s latest ready-to-wear and lingerie collections followed a see-now-buy-now structure, and are both immediately shoppable at their New york City pop-up store. This new approach “forced [the merchants] to say, ‘Ok, I don’t want to be embarrassed, I want to be sure that I cover all the trends [and not subscribe to the] conventions of plus size fashion,’” Griner explained.

Given Addition Elle’s developments, it seems they’re ready to leave other plus-size brands in the dust—but Griner insists her strategy to legitimize the retailer includes the others. “I love the fact that Torrid is also showing [at Skylight],” she said. “Because then it says that this isn’t just a one-off. When there are multiple brands showing, it strengthens the positioning of plus brands on the main platform. I would like to see all those brands that were at Curvy Con come here!”

It’s also important to Addition Elle’s legitimacy that the models they use, including Ashley Graham and Pring, are being cast for designer shows like Michael Kors and Christian Siriano. “It’s all happening slowly but surely,” Graham told me backstage. “We can’t expect all curve brands to be under the CFDA, but you can expect to see some curves in the CFDA shows.” This season, that meant her turns on the Kors and Gurung runways. As for next season: “We’re seeing a lot of the same designers [using curve models],” she said. “It’s great that they didn’t use them in a token season. But next time it’s like, Alright Baja East, alright Fenty, alright Phillip Plein, alright Marc Jacobs, where y’all at?”

When it comes to the future, the VP admitted she would like to see Addition Elle on the CFDA’s official schedule (as opposed to simply paying to be featured on the Fashion Calendar). And she believes that it’s in the organization’s best interest to recognize brands like it. “It would say they care about the money of this customer,” she said. “We hear about all these high-end designer brands going bankrupt—it’s kind of a bad time for fashion, and they’re closing a financially beneficial door.” Of course, Addition Elle stands to benefit from the CFDA’s stamp of approval—but Griner made one final, indisputable point: “Why would you want to deny yourself their money? It’s all the same color.”


Where Do We Go From Here?

Despite the initial confusion of who’s-showing-where and what’s “legitimately” NYFW, the result of this season’s shows sent a pretty clear message: It’s time to stop calling size inclusion a “trend.” We’ve seen the number of plus-size models on designer runways increase steadily every year. And now, plus-size brands are following suit with efforts of their own—not in order to be part of fashion’s elite club, but rather to bring their customers with them. It may not be a permanent change, since it’s a marketing tactic and it could lose its wow-factor after some repetition. And as Fashion Week continues to lose its relevance, designers (plus or not) will come up with new ways for their customers to see and shop their collections. Regardless, it seems that size diversity at NYFW has turned into an evolution—and true integration is on the way.



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