“The One Percent”: A Fashion Show About the Occult Elite’s True Face

Matières Fécales is a Parisian fashion label that quickly rose to infamy due to its extreme and controversial creations. The name of the brand itself (Fecal Matter) reflects the duo’s inclinations for the bizarre and the revolting, as their works often lean on the grotesque with satanic undertones.

In other words, they do exactly the type of stuff the industry loves. For this reason, they’ve been recruited by the high-priestess of the fashion industry: Michele Lamy. If you don’t know who that is, well, a picture is worth a thousand words.

In many ways, she is reminiscent of Marina Abramovic, as both are high-level witches with deep ties to the elite.

The 81-year-old Michele Lamy forms a fashion power couple with 64-year-old Rick Owens, with whom she founded the fashion company Owenscorp.

Backed by these influential weirdos, Matières Fécales was quickly embraced by the likes of Lady Gaga (who happens to be a follower of Marina Abramovic).

Endorsed by the elite and its industry pawns alike, Matières Fécales recently presented its 2026 Fall/Winter fashion show in Paris. And, according to the media, that show critiques… the elite supposedly.

The show’s title is based on the statistic that 1% of the world’s population owns nearly half of the world’s wealth. Considering that those behind the show are 100% in line with the elite’s agendas, I’m not sure whether that name is a critique … or a brag.

Here’s a look at the show and its symbolism.

The One Percent

Like a play, The One Percent is divided into three acts, each one addressing a facet of wealth and power. The first act depicts the archetypal artistocratic society, as models parade with items usually associated with wealth and luxury used as BDSM accessories instead.

The second part of the show has a different feel, as the fashion and accessories lean towards the ritualistic and the all-out satanic. It is less about what the elite displays outwardly and more about what happens behind closed doors. It also reflects what the elite wants the rest of the world to be like.

Some models have a goth/rebellious look and are supposed to represent the “response” to the elite. Are they really rebelling? Or are they doing exactly what is expected from them?

After this ritualistic act, the Grand Priestess herself appeared.

In Conclusion

Matières Fécales’ The One Percent is described as a “critique of the elite” and its obsession with wealth and luxury. The second act is supposed to be a response to it, where the satanic robes “become a bond, a sign of belonging.” As usual, art publications miss the point entirely and attempt to rationalize the show’s true meaning, which is staring us in the face.

Yes, the show does poke fun at some aspects of the aristocratic class, but in a way, family members poke fun at each other. That’s because those behind the show are part of the elite. Michel Lamy and her associates hover in the stratosphere of the fashion world, completely disconnected from the concerns of the average citizen. Along with the likes of Marina Abramovic, they exert control on industry slaves and dictate fashion trends that only other wealthy people pay attention to.

The One Percent is not a critique; it is a celebration. It reveals the elite’s unapologetic accumulation of wealth, and even its demonic tendencies. In the second act, it puts forth the elite’s influence on culture as a parade of sad, satanic, and gender-confused march to the beat of their elite masters.

After watching this grotesque spectacle, who would give it a standing ovation? The one percent.

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