Dear Shaded Viewers,
“The collection is about being fearless in your identity. It’s about walking into a room with your head held high, even if nobody wants you there.” This mantra encapsulates the essence of Matières Fécales, the Canadian duo composed of Hannah Rose Dalton and Steven Raj Bhaskaran, who made a remarkable debut at Paris Fashion Week. Their presentation, held from 2:00 PM to 4:30 PM, was highly anticipated due to their unique aesthetic and influence in avant-garde fashion circles. For me, it was almost prophetic, as I had a vivid dream about their debut collection a few weeks ago. When I shared this with the design duo, they revealed that there would be three shows, and they offered me the chance to attend two of them, making my dream a reality.
Today, I was thrilled to witness their supreme success firsthand. After waiting two years to see what they would create, the collection exceeded expectations. It was practically couture, with impeccable tailoring and pieces that catered to everyone, regardless of age, shape, or size. The atmosphere was electric, with the promise of commercial success palpable.
Matières Fécales is renowned for its bold and provocative style, often drawing comparisons to Rick Owens and Michèle Lamy, who have mentored them over the past few years. The dramatic makeup and silhouettes were sublime, perfectly aligned with their personal style. Beyond their fashion prowess, they are also celebrated for their techno parties, known as Paris Hates Me, which have built a significant community. Their work explores themes of identity and self-expression through fashion and makeup.
Although this is their debut collection at Paris Fashion Week, it is not their first collection. The duo has taken a full decade to reach this milestone. Their designs feature a cross-seam detail, a marker of independence from their confining religious backgrounds. This detail is evident in dress shirts, pant suits, and elongated leather cummerbunds. They first made their destroy jeans ten years ago for their “Abondonner” collection, shot in Steven’s mother’s low-income housing communal laundry room in Montreal. The accessories are striking, including their horn bag, a take on a power dressing bag accentuated with a BDSM whip clochette, crafted from sclera black and toile beige air-brushed leather fabricated in Italy. The shoes are a collaboration with Christian Louboutin, featuring curved pumps that brought a sketch to life. The final haute couture look was worn by Lewis G Burton, a radical trans performance artist and mother of the London underground scene through her INFERNO platform. Jenna Marvin, subject of the documentary about her life, Queendom, is a close friend of the brand, known for her extreme performances and their manifesto “Provoke Society” let’s just say, she is the perfect mannequin for the brand.
Hannah’s finale, titled “Ange Arc,” was a breathtaking wrapped micro hand-pleated chiffon dress with couture mutant wings bursting out of the bust—a reinterpretation of the French couturier wedding dress archetype. It symbolized all the guardian angels who protected them during their journey to this moment.
Between the two shows, I had the pleasure of speaking with Hannah and Steven’s parents, who were beaming with pride. Witnessing the birth of Matières Fécales’ success was truly a joyous experience, marking the beginning of what could be a lasting impact on the fashion world.
Later,
Diane
