Bare Bodies, Painted Faces And Billionaires On Their Backs! Inside Matières Fécales’ Most Provocative Paris Fashion Week Show

Paris Fashion Week has never been short of theatrical runway moments, but Matières Fécales took its Spring/Summer 2027 presentation into decidedly unconventional territory. Staged in the middle of Place de la République, the show brought together pregnant models, barely-there clothing, punk-inspired tailoring, saree-influenced gowns and even lifelike billionaire figures carried through the finale.

Inside Matières Fécales’ bold runway showcase

Co-designed by Steven Raj Bhaskaran and Hannah Rose, the collection drew from Bhaskaran’s own upbringing in low-income housing in Montreal and the different cultures and faiths he encountered while growing up. The show was positioned as a tribute to immigrants, outsiders and communities that have historically existed on the margins of fashion.

With 99 models of colour walking the presentation, the collection explored ideas of identity, individuality and empowerment through three distinct chapters: FAMILY, TRIBE and GODS.

The opening chapter, FAMILY, began with an almost ceremonial procession of white looks moving out into the public square. The label’s recognisable sculptural silhouettes appeared across the collection, including voluminous skirts paired with tulle blazers wrapped around the body.

One of the most noticeable moments came from a pregnant model who walked with her visible baby bump, while another model carried a baby-like figure wrapped around her body as part of the styling. The imagery placed motherhood and family directly at the centre of the presentation.

The clothes were paired with a new collaboration with Christian Louboutin, including a flip-flop interpretation set on a curved heel. The familiar everyday shoe was transformed into something more sculptural, bringing a working-class reference into Matières Fécales’ exaggerated fashion vocabulary.

The first chapter concluded with a distinctly personal appearance from Bhaskaran himself, who walked through the square dressed in white alongside his mother, sister and niece.

The mood shifted dramatically for TRIBE. The softer white palette gave way to utility-inspired pieces, military references, punk influences and silhouettes designed to resemble clothing worn by a collective moving through a demonstration.

Military-inspired tulle and tweed ensembles appeared alongside leather capes treated with a deliberately weathered, decaying appearance. Khaki knitwear came with unravelled hems, while the overall styling leaned heavily into the underground punk culture Bhaskaran encountered during his teenage years in Montreal.

The chapter also featured bodybuilder models walking with much of their physiques exposed, alongside models dressed in extremely minimal clothing. The presentation used the body itself as part of the visual language of the collection, placing physicality and individuality alongside the harder-edged garments.

The section ended with three women dressed in twisted, draped gowns in red, white and blue. The colours formed a reference to the tricolore, while the presentation positioned the looks as a tribute to mothers, particularly those who find themselves at the forefront when their communities’ rights come under threat.

Then came GODS, the collection’s most couture-focused chapter. The silhouettes became more elaborate, combining delicate artisanal techniques with historical references that were reworked through Matières Fécales’ distinctive lens.

Among the most talked-about looks were saree-inspired gowns, bringing draping traditionally associated with the Indian garment into the label’s experimental couture language. According to anonymous fashion critic Diet Sabya, Bhaskaran himself is half Sri Lankan and half Guyanese with Indian heritage.

The beauty styling was equally theatrical, with models appearing in heavily painted white faces, intense red lips and dramatic streaks of sindoor extending upwards towards the nose.

For the finale, the models gathered around the statue at the centre of Place de la République, carrying lifelike representations of billionaire figures on their backs. The imagery echoed figures seen in the label’s Fall/Winter 2026 collection and brought the presentation to a deliberately confrontational close.

Rihanna watches from the front row

Adding another major celebrity moment to the show, Rihanna was among the stars seated in the front row.

The singer arrived in a warm gold two-piece that featured a scoop neckline and revealed a glimpse of a black mesh brassiere underneath. The outfit was covered in bronzed, tinsel-like fringe, while distressed edges gave the ensemble an intentionally rough finish.

She paired the look with curved-heel Christian Louboutin pumps, a gold choker and a black clutch. The metallic ensemble stood out against the unconventional runway presentation unfolding in front of her.