On the opening day of Paris Fashion Week, Hannah Rose Dalton and Steven Raj Bhaskaran staged their fourth Paris show at the foot of the Monument à la République. Smoke drifted past the bronze reliefs honouring the French Revolution, and the collection answered the setting with military tailoring pulled apart at the seams. Trench coats in ivory, sand and olive leather were spliced, strapped and left raw at every edge. Crocodile-embossed denim was slashed at the knee, and a bouclé field jacket shed fibres like it had been dragged through a trench. The political edge was hard to miss: one model walked in a “RESIST” cap, and the brand’s floor-length logo tee featured the République statue itself.
Faith ran alongside the rebellion. Veils and nun-like hoods came in black jersey, sheer chiffon and stark white, and crosses stopped being accessories and became the clothes. Black leather and yellow python cross harnesses were worn over draped jersey skirts. Beauty pushed further into body horror, with white-painted faces, streaked black tears, and prosthetic spikes erupting from cheekbones, forearms and, on one veiled model, across the entire chest.
Softer moments balanced the severity. Bridal tulle ballgowns bloomed into sculptural bubbles and feathered domes, a flame-coloured beaded mesh gown faded from yellow to violet, and a pregnant model closed the show in draped white jersey, cradling her belly. The collection’s most personal note came from a series of sari-inspired looks. Blush Banarasi-style silk was tailored into a structured jacket, pink tulle was wrapped across the shoulder with silver fringe, and a sheer embroidered column was paired with stacked bangles and a vermilion forehead stroke.
The shock value that made Matières Fécales a name is still there, but Spring/Summer 2027 showed what sits underneath it: sharp tailoring, real couture craft, and designers willing to put their own stories on the runway. For a Canadian label that started out daring you to flinch, this was the season the clothes did the talking.
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