"We Have Less to Lose and More to Say": Why Smaller Brands are Still Leading the Charge on Catwalk Inclusivity in 2026

The success of fashion month hinges on the shock of the new, whether that's trends or names-to-know. But while the clothes might shift from season to season, with different references, silhouettes, colour palettes and moods, there's a habit that's harder to change: casting. Karoline Vitto, one of the most exciting talents at London Fashion Week, put it best in her press release with its deadpan opening question: "'Where did all the curve models go?,' the headlines asked. Nowhere. The weight of body diversity should not rest on a handful of designers. But with Karoline Vitto and her contemporaries taking a step back over the past couple seasons for one reason or another, it felt like curve model casting had all but frozen over." Hers was a show that drew on silhouettes from the '90s and 'early '00s, "minus the heroin chic body ideals," cleverly adapting toxic standards of the past into something that did not demonise but celebrated, with a teardrop cut-out placed over the hip bone in one instance that gave its gown exquisite oomph.

Vitto might not be among the majority but she's also not alone. Because for AW26, collections for which have so far been shown in Copenhagen, New York and now London, there were tentative signs of more interesting (read: inclusive) casting. As well as being a sustainability champion, Copenhagen Fashion Week has become an example of how brands can think differently (or differently to what has come before) when it comes to who models their clothes.

At Skall Studio, the process has always been more than a specific "look". Rather, its sibling founders, Julie and Marie Skall, seek out, "women with personality, women who stand for something and who feel aligned with our values", they tell Marie Claire, emphasising that it's a different approach to what you might think of as traditional street casting. "Often, there is already a relationship. They might be part of our extended community, or someone who embodies the quiet confidence and integrity we value. When you cast based on personality and values, diversity happens very organically. You automatically see different ages, body types and expressions of femininity," they say.

These sentiments chime with the ethos at OpéraSPORT, another brand showing as part of CPHFW. "When people see a range of body types, ages, and backgrounds on the runway, it creates connection. It makes the clothes feel real and attainable, not distant or exclusive," says co-founder Awa Malina Stelter. "For us, diversity is not a statement for attention; it’s a reflection of the community we design for. We want people to see themselves, or someone they recognise, in our shows."

That word—"community"—is important. Because if a brand's customer base is broad, shouldn't that richness be reflected on the catwalk? At Carolina Herrera, Wes Gordon asked members of the art world, from painters to gallery-founders to sculptors to photographers, to walk in the show, giving the clothes—assertive, easy and artistic—even more life. As the press release detailed: "For Fall 2026, Carolina Herrera draws inspiration from a community of women, past and present, whose work and influence have shaped the landscape of art. Whether artists or muses, patrons, gallerists, curators or collectors, they lead lives of bold self-expression, talent, and style."

This is an establishment brand—one of the on-schedule designers that is worn by some of the most powerful women in America—making a refreshing casting decision, one that was neither a box-ticking exercise nor a novelty but infused the collection itself. Why this makes a difference is because the people who continue to push the so-called envelope when it comes to casting are independents, smaller brands who essentially have to carry the can for the entire industry. "We have less to lose and more to say," says Hillary Taymour, founder and creative director of Collina Strada. "Big houses carry history, shareholder expectations, and legacy fantasies built on exclusivity. That doesn’t mean they can’t change, but change is slower when the image is already monetised. Independent brands are often born from lived experience, so nuance isn’t a strategy, it’s a necessity."

Having said that, Chanel's Haute Couture show opened with a grey-haired model—Stephanie Cavalli, who also appeared on the brand's catwalk for Metier's d'art. This was a different kind of Couture, softer, lighter, modern and highly want-able, and its artistic director's choice of model perhaps reflected that women who can afford these clothes—translucent twin-sets that are whisper-thin, delicate but just as gorgeous as ball gowns—are probably older than 25.

For some brands, an inclusive approach to casting has always been part of their DNA, not a gimmick or a way to gain traction. "From our very first show, we decided to do things differently," says Marta Marques, co-founder of Marques' Almeida. "We didn’t really agree with how agency models were being treated, the focus on body shapes, heights, and looks, with no real attention to them as people." That's the key, not diversity for diversity's sake but something deeper. "We hope people notice not just differences in age, race, size, or style, but also in posture or personality—some girls are shy, some bold—but they all feel comfortable, supported, and part of a unit that lifts each other up. That’s the real message: that even in small communities, people can support one another and create something meaningful," says Marques.