Author Archives: Sanjeeva Suresh

Has Fashion Forgotten About Men’s Size Inclusivity?

Photo: LGN Louis Gabriel Nouchi

It is no secret that the fashion industry has a history of favouring and designing for unrealistically slim figures. However, in the last decade, the plus-size market has seen notable growth reflected by the presence of more plus-size models on runways and in campaigns. Many brands and retailers have jumped on the inclusive sizing bandwagon to satiate calls for inclusivity and diversity, but this seems to exclusively apply to womenswear.

Given that female consumers dominate the luxury fashion market, males — more particularly plus-size males — are often overlooked due to the commercial risks. In the current social landscape, females have been particularly vocal about the need for size inclusivity, fostering a rapidly evolving social movement of body positivity. Their demands had prompted expanded size ranges with many brands, while this may be performative and a tool used to increase profits, this still grants more freedom to shop a wider range of styles.

The same cannot be said for males. Despite advancements in female size inclusivity and beyond the glitz and glamour of high fashion, lies a deep disparity and disregard for size inclusivity in menswear. This begs us to ask the question: What about men’s size inclusivity? And where are the male plus-size models? LUXUO examines the untapped male plus-size market and fashion’s shortcomings in inclusivity.

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Luxury Labels’ Reluctance to Expand Size Ranges

The current state of plus-size representation in menswear is exceptionally underwhelming, with little prominence in high fashion labels and a severe lack of data regarding the plus-size menswear market despite a large population. According to a study done by Iowa State University, plus-size men make up 70% of the United States population and 40% of men have issues with size and fit. The global plus-size market has reached a value of US 288 billion in 2023 and is expected to exceed 500 billion by 2033.

By taking these statistics into consideration — even with significant growth potential for brands and such a large demographic unprovided for —  why does the fashion industry overlook this population? Perhaps the patriarchal and somewhat narrow-minded vision of masculinity in menswear. The fashion industry’s internalised fatphobia and general unwillingness to cater to large sizes are the root of plus-size lack of representation, states Kayla Merci, a retail analyst.

Furthermore, the lack of inclusivity in men’s fashion is highly driven by social beauty standards, often presented to the world through model representation on runways and campaigns. It is a known fact that designers create their garments based on a vision of a certain body shape and aesthetic, an image that typically perpetuates an unrealistically tall and slim ideal of the male body — resulting in a lack of representation in high fashion.

In Milan Fashion Week of 2023, it was found that just six of the 72 shows features at least one male plus-size model, with just 0.6%. While there is growing awareness, the dominance of the slender male physique leaves little room for anyone outside of this standard, making it almost impossible for this demographic to shop high fashion. It is also worth noting that numerous fashion retailers have extensive sizes ranges to cater to mass markets and to optimise profits, however, luxury labels severely lag behind due to a strict idea of “desirability” and commercial risks.

High end brands often cite financial and logistical reasons for not expanding their size ranges. Given that good tailoring is a pillar of menswear, designers claim that it is more difficult to accommodate larger sample sizes, hence the lack of representation in on runways. Commercial risks extend to creating diverse sample sizes and the complexities of catering to different body shapes in a variety of products, all of which require market research and product testing.

Furthermore, plus-size men are unable to shop luxury labels in-store, with their sizes unavailable on the rack nor on the displays — further distancing, marginalising and excluding plus size individuals. When catering to size, those of larger sizes tend to be limited to oversized silhouettes which are shapeless and somewhat typically untrendy and unexciting. Hence, the allure of luxury labels with a reputation of exceptional quality, prestigious name and tailoring, something that is seldom achieved from fast fashion purchases.

However, at the industry’s current state, men who do not conform to high fashion standards are granted little freedom to shop and forced to settle for ill-fitting fast fashion garments. Despite a large demographic and growth potential, inclusive fashion is more than a marketing tactic and a reality for many. In catering to this underrepresented population, thoughtful steps can go a long way in fostering a diverse and loyal customer base.

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Society and Cultural Norms

Backstage at Charles Jeffrey Loverboy SS25

A significant contributing factor to note is that males are much less vocal about body image insecurities and take on a more stubborn stance when addressing masculinity norms. It is no secret that there is a massive population uncatered for, yet many perpetuate the traditional views of masculinity in not addressing self-esteem or body image issues. As examined by German newspaper Zeit, it was found that men generally placed more importance on other factors such as social status and wealth. The notion presents the idea that men do not have to meet the beauty ideal as it is not important. The stereotypical idea that males should focus on careers while females must adhere to strict beauty ideals, while extremely outdated is majority accepted till this day.

Therefore, many of those demanding for size inclusivity historically been marginalised due to their size. For the brands that have expanded size ranges, larger sizes have typically been categorised under the title “Big and Tall” which not only reinforces negative stereotypes but presents the idea that being “plus-sized” is stigmatised. Due to these factors much of the plus-size population remain underrepresented due to fear of societal stigma and pressure to adhere to the traditional idea of masculinity. Therefore, while unfortunate, high fashion labels may not feel the need to cater to larger sizes if the demographic does not demand for change on a mass scale. Without mass outcry, brands do not see profitability and are unlikely to expand size ranges.

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Role of Social Media and Representation

The power of social media and digital marketing is undeniable. These platforms dictate the success of cultural movements, activism and give users a space to advocate and express. We have seen this with the acceptance of plus-size females and mass advocacy for size inclusivity. While there is a long way to go for female size inclusivity, we have seen a large shift in societal expectations, with an influx of diverse and inclusive fashion campaigns, runway models promoting a brand’s extensive size range. The younger generation has been the driver of this cultural shift, with more freedom to express, customer habits have become more informed with heavily emphasis of aligning social values when purchasing.

It has been proven that social media advocacy has successfully influenced extension of plus sized apparel, in hopes to appeal to the younger generation and to increase their customer base and profitability. However, the same cannot be said for men, despite numerous celebrities like Sam Smith, Jonah Hill and Seth Rogan highlighting the gap. Plus-size women in recent times have been empowered by the media, larger men are often portrayed as less desirable in film and adverts. While there has been some progress with Rihanna’s Savage X Fenty, Kid Super, Charles Jeffery Loverboy and LGN Louis Gaberiel Nouchi in showcasing plus-sized male models and a broader range of body types. While demographic of plus-size males is largely untapped, it possesses much profitability and potential which is often overlooked by brands due to a lack of-advocacy and customer demands. Just like the female population, males continue to struggle with self esteem and body image issues, and it is crucial to foster advocacy and representation to welcome more diversity in men’s fashion.

In conslusion, despite significant potential in the male plus-size market, this demographic is still largely underrepresented due to a lack of urgency in driving conversations about the importance of diverse male representation in fashion. While there is a long way to go with inclusivity in fashion as a whole, the progress made in female plus-size representation proves that when the public challenges the status quo, this raises awareness and encourages change. It is only then, luxury labels are likely to cater to male plus-size inclusivity and representation. Just like the female population, males continue to struggle with self-esteem and body image issues, and it is crucial to foster advocacy and representation to welcome more diversity in mens fashion.

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Halcyon Gallery Introduces Graceland London to Its Gallery Programme

Artist Graceland London is set to make her Halcyon Gallery debut with its gallery programme. Spotlight on the Shadows is the artist’s first solo exhibition with the gallery and presents an expansive survey of 30 artworks created over the last two years. The collection of pieces provide a visual and artistic insight into the full scope of her vibrant, nuanced, dark and playful sensibility.  

Graceland London’s Playground, 2022

As part of the curated display, Halcyon Gallery’s curatorial team has worked with Graceland London to transform 29 New Bond Street into an immersive space, reinforcing the potency of her
other-worldly creations with 3-dimensional installations that recreate her visual inventions across the gallery.

Read More: Halcyon Gallery Delves Into Unchartered Territory With New ‘Songs of the Open Road’ Exhibition

Graceland London’s training in 3D animation and design has significantly informed her practice. It has led her to invent an array of unique characters and motifs that are a part of her distinctive visual language. The universe that she creates beyond the picture surface is conceived through flourescent candy colours and playful articulations of form.

Graceland London’s There Is Only You, 2023

Her deep background in art history and fascination with the Old Masters significantly influence her work. Her paintings frequently draw on art historical traditions, incorporating oil painting techniques reminiscent of 15th-century Northern European masters such as Jan van Eyck and Hieronymus Bosch.

Read More: Andy Warhol’s Unseen Work on Display at London’s Halcyon Gallery 

However, she also reimagines and repurposes tradition to address contemporary themes. Through the alternative reality that Graceland London creates, she shines a spotlight on the challenges of 21st-century life with the use of symbols and iconography, derived from both art history and contemporary culture. Her art addresses mental health, addiction, conspiracy theories, conspicuous consumption and commercialism, and many of the other themes that characterise our time, with an equal measure of pessimism and humour.

In conjunction with the launch of original paintings at Halcyon Gallery, the London-born artist will release a set of limited-edition Spotlight on the Shadows prints with sister gallery Castle Fine Art.

Graceland London explains: “My artistic approach is a blend of tradition and innovation. I utilise the flat acrylic technique but incorporate a single use of traditional oil paint within each composition. This juxtaposition allows me to marry the vibrancy and immediacy of acrylics with the richness of oils. It’s a deliberate choice to imbue my work with a sense of depth and texture that creates visual interest. By integrating these two mediums, I aim to form a dynamic visual experience that speaks to the intersection of tradition and modernity in art”.

Paul Green, the president and founder of Halcyon Gallery, stated: “We are thrilled to welcome Graceland London to our gallery’s roster. Her bold and innovative approach to painting marks her as an emerging artist to watch.” Kate Brown, the gallery’s creative director, added: “Graceland London’s art invites viewers into a realm shaped by her unique vision, engaging with contemporary themes and challenges. Her work strikes a profound chord with today’s audience.”

Founded in 1983, Halcyon Gallery specialises in Impressionism, as well as modern and contemporary art. With three locations in London—on New Bond Street and within Harrods in Knightsbridge—the gallery has established a strong presence in the art world.

In 2023, Halcyon Gallery revitalised one of London’s most historic art venues at 148 New Bond Street. Originally built in 1881 and previously home to the Fine Art Society, this iconic space has undergone a complete interior transformation, evolving into a cutting-edge gallery that blends historical charm with 21st-century innovation. Looking ahead to 2024, Halcyon Gallery is expanding its global reach with new galleries in New York and Los Angeles, aimed at engaging new audiences and exploring emerging markets.

The gallery features works by modern masters, acclaimed contemporary artists, and emerging talents, while also dedicating itself to nurturing the careers of artists with exceptional skills. Its mission is to captivate collectors, international museums, and the general public. Halcyon Gallery’s full-service creative team provides expert support for artistic innovation.

Committed to curating distinguished art collections, Halcyon Gallery has a proven track record of placing high-quality works in museums and prestigious public spaces around the world.

Read More: Halcyon Gallery’s New Exhibition Highlights Beauty “In Plain Sight”

Spotlight on the Shadows, The Solo exhibition dedicated to the work of British artist now open at Halcyon Gallery, 29 New Bond Street.

Visit www.halcyongallery.com for more information.