French designer Nicolaboyer has unveiled a collection titled 'CROY CHOSA', an insulting term once used in the Middle Ages to mock fat women. Drawing from her own experience of growing up in a fat body, she reclaims fatness not as a taboo to hide but as a right to proudly exist. Using French maximum clothing sizes 50 and 60 as starting points, the collection boldly amplifies the volume of fuller bodies, liberating forms once constrained by social expectations. It is a question directed at the body standards we have long taken for granted.
Constructed exclusively through molding based on specific body shapes, the garments take on the quality of sculptural objects. Through a process of transformation, reduction, and inverse gradation, the experiment ultimately expands into looks designed to embrace every body type. Transparent materials layered over opaque fabrics reveal and conceal the body's contours in a dual gesture. The oversized silhouettes do not trap the body but instead create space around it.
The collection chooses to magnify and declare the body rather than hide it. Balloon-like structures added to shoulders, bellies, and hips maximize bodily volume. Leather and matte fabrics mix together, with seams deliberately emphasized. The result resembles sculpture more than clothing.
Nicolaboyer questions the very standard of the 'beautiful body'. For whom is this standard set, and who created it? Her stance is clear: the body should not be judged but respected as it exists. Through this collection, she argues that instead of forcing bodies to fit society's mold, clothing and space should adapt to bodies.
Whom is the 'ideal beautiful body' you've always believed in really for?
Constructed exclusively through molding based on specific body shapes, the garments take on the quality of sculptural objects. Through a process of transformation, reduction, and inverse gradation, the experiment ultimately expands into looks designed to embrace every body type. Transparent materials layered over opaque fabrics reveal and conceal the body's contours in a dual gesture. The oversized silhouettes do not trap the body but instead create space around it.
The collection chooses to magnify and declare the body rather than hide it. Balloon-like structures added to shoulders, bellies, and hips maximize bodily volume. Leather and matte fabrics mix together, with seams deliberately emphasized. The result resembles sculpture more than clothing.
Nicolaboyer questions the very standard of the 'beautiful body'. For whom is this standard set, and who created it? Her stance is clear: the body should not be judged but respected as it exists. Through this collection, she argues that instead of forcing bodies to fit society's mold, clothing and space should adapt to bodies.
Whom is the 'ideal beautiful body' you've always believed in really for?
FAQ
What sizes did NICOLASBEAUVAIS use as the foundation for the 'Crois Chaucer' collection?
The collection is built around French clothing sizes 50 and 60, boldly maximizing the volume of fuller figures. Constructed purely through molding, the pieces undergo deformation, reduction, and reverse gradation processes to ultimately embrace all body types.
What does 'Crois Chaucer' mean?
It's a medieval insult used to mock fat women. NICOLASBEAUVAIS reclaimed the term as the collection title, redefining obesity not as a taboo to hide but as a body worthy of confident, unapologetic existence.
How are the NICOLASBEAUVAIS collection garments constructed?
They're woven exclusively through molding based on specific body shapes. Balloon-like structures added at shoulders, belly, and hips maximize volume, while mixed leather and matte fabrics with emphasized seams create sculptural silhouettes.
