“Beyoncé is our queen and this look is fit for a queen,” says jubilant Mugler creative director and die-hard Beyhive member Casey Cadwallader of dressing British Vogue’s December cover star. The elastic-nylon mesh bodysuit, which is made up of 64 panels and took more than 100 hours to sew together, is a lingerie-shapewear-sportswear hybrid that the designer has been developing since Thierry Mugler handed him the reins to the house in December 2017.
“This bodysuit is the grand finale of my mesh journey,” Cadwallader explains over Zoom. The contour-hugging material first took shape as hosiery in the resort and spring/summer 2020 collections. Mugler customers went wild for the “strong, gutsy” tights that didn’t snag after one wear, and demanded more. By autumn/winter 2020, Cadwallader had created tops and dresses.
Bey’s bodysuit, however, is an ambitious feat that would make even couture pattern-cutters scratch their heads at the proportions. “It’s a structured and precise fit but it’s flexible, which is a fun balance to strike,” says Cadwallader, a self-professed lingerie and shapewear obsessive who is in his element talking about technical fabrications. “I love [Bey’s one-piece], because it covers the entire body from neck to toe, but at the same time there’s a fragility and transparency that makes it quite sexy. It’s a way of showing skin, but also being very secure at the same time.”
The tantalising look, which combines sheer single layers with others doubled up for opacity, is rooted in body positivity. “I want to make fashion that’s approachable for everyone,” Cadwallader asserts. “I don’t believe in fashion having one standard body shape that everyone has to adhere to. Clothes should be more flexible and people should know that they are thought of [in design studios].” The beauty of Beyoncé’s bodysuit is that it would fit a person two sizes up or down – something that was important to Cadwallader, after hearing horror stories from his mother and sister about changing room fiascos triggered by poorly sized pieces of clothing.
“My version of sexy is centred in how a woman wants to portray herself,” the designer continues, speaking of the values at the heart of his high-octane, hyper-feminine fashion. “Instead of [clothing] being sexy for someone else, it’s sexy for yourself.” Mugler has always been a daring house and, Cadwallader explains, “it’s really important that we continue to dare with what we propose.” It’s no surprise that his exploration of clothing that accentuates the curves of the body has attracted a galaxy of other stars (Miley, Kim, Ariana, we’re looking at you), as well as Beyoncé. Even less surprising is the fact that Cadwallader studied architecture at Cornell University, before cutting his teeth at Narciso Rodriguez, Loewe, and Acne Studios.
As well as providing a glorious exclamation point at the end of his technical fabrication quest, the Vogue December cover marks the next milestone moment in Mugler’s relationship with Beyoncé. The powerhouse performer was the first person for whom Cadwallader created custom Mugler pieces upon his appointment at the house, and the pair has collaborated on multiple bespoke pieces – notably for Bey’s On The Run II Tour – since. “This doesn’t change my reaction every time a request comes in,” says Cadwallader, smiling. “I pinch myself every time I get to dress one of my most important icons.”
As always, Cadwallader maintains that his work is “simply an accompaniment” to Mrs Carter herself. “Beyoncé’s power, intellect and beauty will be the most important message [of the Vogue cover],” states Mugler’s main man. Bow down.
The December issue of British Vogue is on newsstands on 6 November.
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