When Gabbriette walked down the aisle to Matty Healy of The 1975 last weekend in Los Angeles, she did not simply wear a wedding dress. She wore three of the most extraordinary, boundary-defying, and utterly personal bridal looks we have ever had the privilege of witnessing. The fashion world has not stopped talking about it since.
The looks were created by Matières Fécales, the Paris-based cult label founded in 2014 by Hannah Rose Dalton and Steven Raj Bhaskaran. Known for their dystopian, politically charged collections and couture-level execution, the duo has built an extraordinary following for their ability to juxtapose dark neo-gothic glamour with the opulence of traditional couture. As seen on Zendaya during the Odyssey press tour and Sarah Paulson at the Met Gala, Matières Fécales has become the label of choice for fashion’s most discerning and fearless dressers. And their first bridal foray was always going to be Gabbriette. It could never have been anyone else.
The first look, “The Leigh,” arrived for the pre-wedding moment. Beginning with a black Martin Margiela archive gown already beloved in Gabbriette’s own wardrobe, the designers layered white tulle over its foundation before applying their signature destructive technique. Deliberately slashed openings run down the back. White tulle erupts from the black structure, creating movement, volume, and the most stunning study in opposition imaginable. Christian Louboutin curved-heel pumps, warped and architectural, completed a look inspired by the gothic lavishness of Francis Ford Coppola’s Bram Stoker’s Dracula. Pure, magnificent theatre.
“The Gabriella” arrived for the ceremony itself. Hand-pleated white silk taffeta forms the bodice with extraordinary structure and dimension. Three distinct bustles gather at the back, paired with a train whose edges dissolve into the label’s signature fragmented tulle technique. Controlled architecture at the top. Intentional destruction at the base. A Stephen Jones veil completed the look, walking the most perfect line between bride-appropriate formality and the label’s insistence on visible unmaking. It was, as designer Steven described it, a distorted Cinderella moment materialising exactly as he had sketched it.
And then came “The Healy,” named after the groom and reserved entirely for the reception. A two-piece suit in lamb leather with hems and cuffs trimmed in shredded tulle and Mongolian fur. A white satin riding hat by Stephen Jones on top. The antithesis of everything that came before it, and absolutely perfect for that exact reason. She had a ceremony gown that negotiated between formality and decay. The Healy simply came to party.
What began with a DM and was constructed over five months in their Paris atelier, this was bridal fashion as it has never been seen before. Dark, considered, deeply personal, and completely, magnificently Gabbriette.
Photo courtesy of Matières Fécales