Matières Fécales

The One Percent used the Palais Brongniart to turn bourgeois dress and financial imagery into a critique of concentrated wealth. Hourglass blazers, pleated skirts, prim tweeds, vampiric capes and Prince of Wales tailoring were disturbed by pearl ball gags, distressed hems, leather gloves with blood-red palms, dollar-bill eye masks and a shaggy knit tied from physical cash.

Casting extended the argument into biohacking. Bryan Johnson appeared in a close grey knit as a figure associated with costly longevity regimes and the show’s idea of “the immortals”, while Christian Louboutin’s continuing footwear contribution linked the collection back to the specialist system established in the Paris debut. The show became the clearest early statement of how the house could use luxury materials and social satire within a commercially distributed seasonal collection.