On the morning of September 29, the Paris Fashion Week calendar welcomed back a duo whose presence had been sorely missed by industry observers and advocates for body diversity. Designers Ester Manas and Balthazar Delepierre, known for their uncompromising approach to sizing and silhouette, returned to the official schedule after a two-year hiatus. Their return arrives at a critical juncture for the luxury fashion sector, which has seen a documented regression in representation for plus-size individuals. According to the latest data from the Vogue Business Size Inclusivity Report, the percentage of plus-size models on the runway has plummeted from an already negligible 0.8 percent to a mere 0.3 percent over the last several seasons. This downward trend highlights a growing disconnect between the industry’s performative diversity initiatives and the actual casting practices observed during major fashion weeks. A Chronology of Exclusion The decline of size inclusivity in high fashion is not a recent phenomenon, but rather a pattern that has accelerated since the post-pandemic return to physical runway shows. In 2022, when Manas and Delepierre temporarily stepped away from the spotlight, the industry was already struggling to maintain the momentum of the body-positivity movement that had gained traction between 2018 and 2021. The timeline of this regression reflects a broader industry shift toward a "heroin chic" revival aesthetic, which has prioritized thinness at the expense of inclusive casting. Market analysts note that as brands pivoted back toward traditional sample sizing—often citing logistical constraints and production costs—the opportunities for models above a size 12 evaporated. By the time of the Spring/Summer 2025 season, the 0.3 percent figure recorded by industry trackers served as a stark reminder that the progress made during the previous decade was fragile. For many observers, the two-year absence of the Ester Manas brand served as a catalyst for this decline, proving that while one label cannot carry the entire industry, its specific mission to dress a diverse range of bodies provided a vital benchmark for what was possible. The Intersection of Heritage and Humor For their comeback, Manas and Delepierre chose to ground their return in a high-low cultural framework that felt both self-aware and technically ambitious. The collection, titled Somehow I Manage, draws its name from the fictional memoir authored by the character Michael Scott in the American television adaptation of The Office. The title functions as a meta-commentary on the logistical challenges of running an independent, inclusive fashion label in a demanding global market. It acknowledges the friction between creative vision and the corporate realities of fashion—a nod to the designers’ own journey through the industry’s volatility. Beyond the humor of the title, the collection was defined by a profound technical collaboration with the Belgian heritage lingerie house Primadonna. With 161 years of expertise at their disposal, the designers were granted access to the brand’s extensive archives. This partnership allowed the duo to elevate their signature aesthetic, blending the functional support of professional lingerie with the avant-garde sensibilities of Parisian ready-to-wear. The resulting garments—sheer body stockings in soft, pastel palettes, accented with intricate lace paneling—demonstrated a sophisticated understanding of construction. By turning underwear into outerwear, Manas and Delepierre forced a conversation about the "sexy" aesthetic, challenging the industry’s narrow definition of what can be displayed on a runway. Technical Craft and Design Philosophy The collection was characterized by a distinct "clash and combine" methodology. Cheetah prints were layered beneath cool-toned baby blues, while structured, boxy jackets—an industrial, masculine silhouette—were juxtaposed against delicate, revealing lace and fluid, beaded skirts. This contrast was intentional. As the designers noted following the show, there is no inherent reason why elements typically categorized as "sexy" or "revealing" cannot exist in the same space as utilitarian or structured garments. This design philosophy is central to the Ester Manas brand identity. By utilizing stretchy fabrics, adjustable closures, and modular components, the label ensures that a single garment can fit a variety of body types without sacrificing the integrity of the design. This technical approach addresses one of the primary arguments often used by luxury houses to avoid inclusive sizing: the claim that complex tailoring cannot be scaled. Manas and Delepierre continue to prove that with intentional design, such constraints are largely a choice rather than a necessity. The Broader Implications for Fashion The return of the Ester Manas label to the official Paris Fashion Week schedule is more than a creative homecoming; it is a signal to the broader fashion establishment. While the onus of systemic change cannot—and should not—rest entirely upon the shoulders of a single independent brand, the visibility of their work serves as a reminder that inclusivity is a viable commercial and creative strategy. The 0.3 percent statistic mentioned in the Vogue Business report is a metric of failure for the luxury industry, but it also highlights a massive, underserved market. As consumers become increasingly vocal about their desire for representation, brands that continue to exclude a majority of the population face growing risks to their reputation and bottom line. The success of the Somehow I Manage collection suggests that there is a hunger for clothing that does not force the wearer to adapt to the garment, but rather adapts to the wearer. Industry experts have begun to weigh in on the implications of this shift. While some analysts argue that economic headwinds make it difficult for legacy houses to prioritize size inclusivity, others suggest that the failure to do so is a lack of imagination. The collaboration with Primadonna, in particular, offers a roadmap for other designers: by partnering with heritage brands that specialize in supportive construction, contemporary designers can bridge the gap between high-fashion aesthetics and inclusive utility. Looking Toward the Future The current state of the fashion industry is at a crossroads. With major players often defaulting to exclusionary casting, the return of labels like Ester Manas provides a necessary counter-narrative. The impact of their show on September 29 will likely be felt in the coming seasons, as buyers and editors look for brands that prioritize accessibility without compromising on style. As the industry moves into the next cycle of fashion weeks, the focus will remain on whether these numbers—the 0.3 percent—will begin to rise. The burden of proof has shifted back to the houses that have largely ignored the demand for diversity. By re-establishing themselves on the Paris schedule, Manas and Delepierre have not only reclaimed their space in the conversation but have also provided a template for how luxury fashion can evolve to meet the needs of a modern, diverse audience. Their work remains a testament to the idea that true innovation in fashion is not found in the exclusion of bodies, but in the celebration of their variety. Ultimately, Somehow I Manage was not just a collection, but a manifesto. It was an acknowledgment that while the industry is currently failing in its promises of inclusivity, those who remain committed to the cause will continue to find ways to navigate the obstacles. The success of this season suggests that when design talent meets genuine, inclusive intent, the result is a powerful, resonant, and necessary contribution to the global cultural dialogue. Whether the rest of the industry chooses to follow this lead remains the defining question for the seasons to come. Post navigation Don’t Call It K-Pop The Future Faces of East Asian Music
