In the 1960s, skinny was a new beauty ideal; cultural changes meant fashion started catering to teenagers instead of older women, a slim almost childlike body symbolised the new obsession with youth. It later re-emerged as the fashion fantasy of the 1990s, with young beautiful girls taking over catwalks and billboards. They embodied the ultimate cool—independent, rebellious, and effortlessly glamorous, living on cigarettes and champagne and we all wanted to be them. As the decade progressed, early plus size models began to emerge. Sophie Dahl taking to the runway in 1997 was a cool countercurrent against the rise of “heroin chic”, Dahl later became the face of Tom’s Ford’s Opium in 2000. The body positivity movement emerged in the 2010s amplified by social media, challenging conventional beauty standards. The movement highlighted intersectionality with curve, queer and disabled bodies at the forefront, a long overdue presence in an industry still dominated by a single silhouette.

So why in 2025 are we falling back to exclusivity? Why is skinny popular again? I sat down with award winning director Julia Parnell (The Chills, SIX60, Till the Lights Go Out, Choir Games), and curve models Isabella Moore and Hannah Janes to get the inside story on the new fascination.

In an era of Ozempic and shifting beauty ideals, this docuseries examines the emotional and professional costs of visibility for plus size women in fashion and offers an insider’s look at the global conversation around body diversity.

Julia Parnell, award winning documentarian and founder of Notable Pictures (Photographer Credit: Courtesy of Notable Pictures)

Documentary director Parnell is known for championing human centred stories across music, culture and social issues. She says: “As a documentary maker, but really as a human, I’ve always been interested in fashion, art as a mirror. Clothes shape our identity and the industry shapes our self worth. I love how dressing provides a representation of who I am and how I feel. The urgency to create a fashion documentary came when we saw the retreat from body diversity.”

Parnell’s co-producer, Evelyn Ebury comes from a fashion background, both in the UK and New Zealand. It was her idea to approach model and opera singer Isabella Moore to take part, having interviewed her a couple of times during her curve modelling career.

As the idea took shape, it unearthed hidden truths. Parnell explains “It really wasn’t until we were filming February this year as Fashion Weeks happened, and we saw a 50 per cent drop in plus size and curve representation on all the major catwalks”.

It’s no coincidence that this is happening while GLP-1s are being talked about in gym locker rooms in the same way as a cosmetic procedure. “I don’t think any of us should be judging who wants to take a drug to be skinnier. But why are they doing it, that’s the most interesting question to me as a documentary maker, as a director. The fashion industry and Isabella’s story was like a canvas, but really at the heart of what I wanted to try and understand is what are the internalised messages, both in the fashion industry and in culture that makes us feel that the only acceptable version of body is thin.”

It’s the first documentary series of its kind to bridge Pacific, New Zealand and UK perspectives — offering a cross-cultural lens on fashion’s promises, pressures, and contradictions. As Ozempic and Wegovy dominates headlines, the retreat from body diversity is unfolding in real time. This series doesn’t just expose the industry; it reveals why sustaining true inclusion remains so difficult, especially as bodies become commodified and trends shift.

The series hears from voices like Felicity Hayward and Alex Light (UK influencers and body image advocates) challenging global beauty standards; British fashion leaders — including Jamie Gill, the series’ executive producer and executive board member of the British Fashion Council, and Daniel Peters founder of (Fashion) Minority Report. Designer Edeline Lee and casting agent Madeleine Østlie push non-traditional beauty from catwalk to casting — these are not outsiders critiquing fashion. They’re living it.

Samoan Kiwi opera singer turned model Isabella Moore explores identity and representation on global stages (Jason Crane)

New Zealand born Sāmoan soprano Isabella Moore is a celebrated curve model. “A lot of my motivation to take part came from the disappointment seeing the industry shift back towards smaller is better and noticing the lack of demand for models above a certain size. I entered the industry when it was at peak inclusivity around 2019, we were starting to regularly see curvy bodies in fashion like Ashley Graham and Precious Lee. When I noticed that beauty standards were drifting back to the idea of skinny, and the acceptance that bigger bodies had just been a trend, it was really scary.”

Moore is concerned about media and society whipping up fat phobia leaving people with the idea there is nothing worse than being fat: “I felt angry for myself and the women who have been made to feel like they’re not good enough because they don’t fit that narrow beauty standard that only praises one type of beauty. The documentary questions the rules we live by not just as women but as people, it encourages us all to celebrate our individuality and to take our power back.”

Moore adds: “It’s not just less bookings, it’s also the amount of photos taken on a shoots. In the past brands would want front, side, back, all styled images but now it’s just a very basic front shot to show the product is available in a size 18. Something has shifted. Celebrities famous for their curves have dramatically lost weight – Kim Kardashian slimmed down to fit into Marilyn Monroe’s dress for the Met Ball 2022 – the trickle down via social media has created a new obsession with skinny.”

Hannah Janes been a model for 20 years, and decided she didn’t want to put her body and mental health through the pressure to staying skinny (Hannah Moore)

British curve model Hannah Janes has been in the industry 20 years. Her career started as UK size 4 – 8 model aged 12, but she made a natural transition to curve not wanting to put her body and mental health through the trauma of eating disorders. She said: “It just wasn’t a good mental health decision for me anymore to work as a straight model, making that transition has absolutely changed my life.”

Janes has first-hand experience being told “we don’t shoot curve”. It provokes a familiar feeling of insecurity: “I’m thinking what do you mean you don’t shoot curve. Those regular weekly jobs have just disappeared for me and now they’re shooting maybe once a month. It’s very odd from last year, calling my booker from a random hotel in Italy on the verge of burnout, thinking I need some time off to this year hoping I can pay my rent this month.”

She adds: “The word ‘fat’ ... is often used as an insult, people who want to insult me online will say “oh now you’re a fat model” as if that means that I’m not a real one. It’s ingrained in our culture.”

The model casting experience is notorious for being unkind, with casting directors barely looking at a model’s book. Moore describes what she went through: “An important moment we wanted to share was in episode 2 where we recreate a pretty standard model casting experience. You’re basically given a white t-shirt and pair of skinny jeans to take some images in. I don’t think people realise how vulnerable and powerful that moment was to share ... to go to a casting an unfortunately not fit into the clothes. Although it didn’t click immediately I realised how important that moment was for people to see and for women like me. The size of the garment was most likely the largest size offered, we can’t just ask for the next size up, it doesn’t exist.”

Episode 5 sees Moore discusses the importance of her Samoan heritage. She says: “I don’t think culture is recognised as something to celebrate in the fashion industry. I believe I got where I am today because of my ambiguity not because my Samoaness was being celebrated. In the documentary I say if I looked more Samoan I don’t think I’d have the career I have today and I’ve struggled with a lot of guilt because of that, having opportunities other Pacific people don’t get just because I sit more easily into Western beauty ideals.”

While the rise of Ozempec is bringing skinny back we have to look at the deeper question of why that beauty ideal is so desirable. Many scholars, activists, and cultural critics argue that racism is woven into the history of the “skinny ideal” and the fashion industry’s preference for less curvy bodies. The current moment with GLP-1s and a resurgence of “thinness” is tapping into those deeper histories. Why is curve dropping off the runway, ads and even stock rooms? With the rise of right wing politics worldwide, it seems the runway has followed suit, rolling back body diversity and pushing curve models out of the frame. This documentary is critical in raising all of these questions from cruel casting rooms to investigating why brands don’t dive into the curve economy.

*I’d love to hear your stories and opinions on how to create a more inclusive fashion world. Please leave comments below or email me caroline.garland@independent.co.uk. *