Sign up to receive the Vogue Business newsletter for the latest luxury news and insights, plus exclusive membership discounts.
Before her surgery, Caroline Kennedy Alexander, founder of Loverose Lingerie, says she loved wearing matching bra and underwear sets as a form of armour, preparing her for the day. Post-surgery, she found herself with a wardrobe of uninspired, matronly options.
“Someone is diagnosed with breast cancer every 10 minutes, and women must change their entire bra wardrobe after surgery. Yet, the lingerie industry, which is worth billions, continues to neglect this niche. The cost of producing specialised items means investors often don’t see the value,” she says.
Breast cancer is the most commonly diagnosed cancer worldwide, according to charity Breast Cancer UK, with over 2.3 million new cases annually. Yet, for survivors — particularly those who have undergone surgeries like mastectomies — finding functional-meets-fashionable options remains a challenge.
Many brands specialising in the space are founded by women with personal experiences, like Kennedy Alexander. In 2017, Ama Wear founder Barbara Pella underwent a complete removal of her right breast, and soon discovered that mainstream fashion was designed for symmetrical bodies. Unable to find suitable alternatives for women like her — those who choose not to wear a prosthesis — she launched Ama Wear. The designs are intentionally asymmetrical, incorporating elements like ruffles, pleats and pockets to add decoration and volume. Ama Wear also offers free downloadable sewing patterns to help address customers’ unique needs.
Similarly, in 2017, Eno co-founder Florence Moon had a single mastectomy. Her self-esteem plummeted until she questioned the need for a prosthesis, which for her, served as a daily reminder of her cancer. After discussing the issue with her friend Marta Gurgul, they launched Eno, a brand specialising in mastectomy bras and swimwear designed specifically for women with asymmetric chests. “Mastectomy hits hard emotionally. Many women feel a loss and a significant shift in how they perceive themselves,” says Moon.
The adaptive clothing market is growing, but there’s plenty of money being left on the table. According to an August report by Coherent Market Insights, the global adaptive fashion market was valued at $15.8 billion in 2024 and is expected to hit $29.8 billion by 2031, at an annual growth rate of 8.2 per cent. Brands such as Loverose Lingerie, Ama Wear and Eno are at the forefront of this movement for breast cancer survivors, diverging from the more clinical, medical offerings to designs that empower survivors both physically and emotionally.
There’s room for more mainstream brands to get on board. Adaptive fashion remains a niche sector of the fashion industry, though a few brands — including Tommy Hilfiger and Zalando — have introduced inclusive clothing options for customers with limited mobility. Last year, Victoria’s Secret unveiled its first adaptive intimates line, incorporating accessibility features such as front-facing adjustable straps, magnetic closures and Velcro fastenings. With opportunities for both commercial success and consumer connection, can the space evolve past niche?
Designing for purpose
This segment of the lingerie market only works if it’s done right. It’s common for many of these brands to collaborate with medical teams and focus groups to identify gaps in post-surgery markets and understand what their consumer needs.
Kennedy Alexander dedicated three years to perfecting her designs to ensure they offer both luxury and practicality with the input of focus groups, BRCA gene groups (gene types that can increase someone’s chances of developing cancer) and a surgical team. Her collection features pocketed and non-pocketed options that cater to different surgical outcomes, seamlessly blending aesthetic appeal with functional support. Additionally, materials such as soft, recycled lace and mesh are carefully selected to accommodate post-surgery sensitivities, especially for women healing from scarring or undergoing radiotherapy treatments. “One of our customers even wore our sports bras two weeks after her surgery and found it more comfortable than a post-surgery bra,” says Moon.
Meanwhile, Eno prioritised sustainability, recognising a gap in the market for eco-friendly fasteners. In response, they innovated their own using 100 per cent recycled plastic accessories derived from production waste in partnership with an Austrian supplier that meets Oeko-Tex Standard 100 certification. Their fabrics, labels, threads and packaging all follow a similar standard.
Looking to the future
Adaptive fashion is not only about post-surgery wear. Eno’s Moon believes in spreading awareness about living with one breast, rather than defaulting to reconstruction. The brand makes an effort to be a community space, offering a journal on their website that answers questions and relatable commentary to women in similar positions that Moon found herself in after her diagnosis. The founders also stress the importance of adaptive fashion’s emotional impact. “The future of adaptive fashion is to fully embrace the emotional journey of their customers by creating designs that have a positive impact on self-esteem,” says Moon.
Ama Wear’s Pella says designers can set an example for the acceptance of inclusive fashion, while also contributing to better visibility of small brands. Nonetheless, she remains optimistic about the future, highlighting the growing recognition of adaptive fashion in design schools. “Fashion can have a positive psychological effect on people — which is very important after you went through life-threatening cancer,” she says.
There are still significant gaps in the market, she adds. “Directly after a mastectomy, you carry a small, transparent drainage bag with you. It’s far from appealing. Some solutions exist, with cleverly placed pockets in post-surgery garments, but more can be done to make this stage of recovery easier.”
It’s a reminder that fashion serves a function for self-acceptance. Demand is there for post-surgery options, brand founders say. For Loverose’s Kennedy Alexander, adaptive fashion’s progress has been too slow. “Adaptive fashion has always been led by independent brands, not the mainstream industry.”
Comments, questions or feedback? Email us at feedback@voguebusiness.com.
Is fashion ready for an accessibility overhaul?
Victoria’s Secret to debut adaptive collection at NYFW
The Farfetch of adaptive fashion? High-end marketplace Adaptista’s big ambitions
