“The casting is always extremely personal,” says Cadwallader. “We try to make sure that each member is representing a different side of the prism of beauty.” Read the full story here:
Photographed by Erika Kamano
“There’s something about video that I can’t give up,” Cadwallader tells me. “While many houses were falling back into line [during] fashion week, I was hesitant about doing that. I didn’t really want to have a show where a lot of editors wouldn’t be there. But there was just something else about it where I was like, I don’t know if I’m done with this film thing yet, because it was such an experiment.
While the original Mugler archive pieces look like they could be worn onstage or by a performer, Cadwallader’s Mugler is about being on the move and owning oneself in a way that is singularly unique. “For me, the legacy of the brand has always been about inclusion. It’s always shown a spectrum of gender,” he says.
It’s no wonder Cadwallader tends to get a little intellectual about his references. The Cornell University architecture graduate spent time behind the scenes at TSE, Narciso Rodriguez, Loewe, J. Mendel, and Acne Studios before joining Mugler. “Even before I knew I was gay, I was into clothes because of [my] mom,” says Cadwallader. “[She trained me] to think like an architect.