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Matières Fécales will close the opening day of Paris Fashion Week’s Spring/Summer 2027 presentations on September 28, a slot the label occupies for the first time. Zendaya arrived at the New York premiere of Christopher Nolan’s The Odyssey in a white strapless gown with sculptural feathered wings arching from her shoulders.
The dress carried its own backstory. Law Roach, Zendaya’s stylist and creative director, had requested the label to hold the design for her for almost two years, ever since it debuted as the closing look of the label’s first collection.
Matières Fécales confirmed that they turned down other high-profile requests to keep the promise and that they knew it was the right fit for such a significant piece in their archive. The gown, a Fall/Winter 2025 design featuring a swirling sculpted bodice, an asymmetrical feathered neckline, a thigh-high slit, and a tattered train, first walked the Paris runway in March 2025.
Zendaya had already worn the label twice this year. In March, she stepped out in what the designers call a cunty pink gown, named after their pet Sphinx cat, Cunty, for the Paris leg of The Drama press tour. Later that month, she wore a peach Spring/Summer 2026 piece with a deliberately frayed, shipwreck-chic hem while promoting the same film alongside Robert Pattinson. Her Odyssey shoes were part of a footwear collaboration between the brand and Christian Louboutin: a heelless, gravity-defying design finished with a pointed toe and a low-cut vamp, typical of Louboutin’s house codes.
Lady Gaga wore a black feathered Matières Fécales gown to the 68th Grammy Awards in February; Demi Moore chose a frayed pink ball gown with a decomposing hem for Cannes in May.
At the Met Gala, held that year under a co-chair lineup that included Jeff Bezos, Sarah Paulson appeared in a shredded grey tulle ballgown paired with white leather opera gloves. María Zardoya wore a pink drop-waist dress with padded hips and a haunted doll purse to the same event.
Founders Hannah Rose Dalton and Steven Raj Bhaskaran met as fashion students at LaSalle College in Montreal and started the brand in 2014. They chose the name partly to guarantee that anyone buying their clothes wanted the design and not the label attached to it.
Dalton has said she was drawn into fashion after the 2013 Rana Plaza factory collapse in Bangladesh, wanting to protest the less glamorous side of the industry. Their aesthetic leans on shaved heads and bare eyebrows, with prosthetic work designed to unsettle. Bhaskaran has said it took years for people to accept what they do and call it beautiful.
After producing a small collection for Selfridges in London in 2019, the pair built a following largely on social media before Dover Street Market took notice. Madonna invited them to DJ on her 2023 tour, and they’ve since designed custom looks for Lady Gaga’s live performances, including Coachella. They met Adrian Joffe, Dover Street Market’s president, backstage at a Madonna show in 2024, which led to the label’s Spring 2025 Paris Fashion Week debut under DSM’s backing.
Their debut collection, at Paris Fashion Week Spring 2025, closed with the winged gown Zendaya later wore. It also included a collaboration with Christian Louboutin for three shoe designs. That relationship has continued through subsequent seasons.
The brand’s client list has stretched beyond red carpets and runways this year. Model Gabbriette Bechtel wore a distressed Victorian-style dress from Matières Fécales for her wedding to musician Matty Healy, the label’s first bridal commission.
Kylie Jenner wore a blush-pink, satin, structured Matières Fécales blazer with exaggerated shoulder pads in a Dunkin’ television advert. It marks the label’s first documented appearance in a mainstream advertising campaign, a considerable distance from a wedding gown or a Grammys red carpet.
The brand’s most recent runway outing, its Fall/Winter 2026-2027 collection titled The One Percent, gave some sense of where its ambitions sit now. The show drew on an Oxfam report on the world’s richest one percent holding nearly half of global wealth. It unfolded across three acts staged at the Palais Brongniart.
One look paired a pearl ball gag with a cream tweed skirt suit with raw-edged hems over white face paint. The finale went to model Debra Shaw, wearing a look Dalton and Bhaskaran had originally sketched for a graduate school project years earlier, when they were asked to imagine what the year 2026 might look like. Their own show notes framed the collection bluntly: too much power, they wrote, can eclipse humanity, and perhaps that is why people are not born gods.
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