For SS26, Matières Fécales collapses the distance between life, labor, and image with Hannah, a campaign built not around models, but around proximity.
Friends, collaborators, and family become the system itself—no longer outside the frame, but embedded inside its logic.
The collection grows from Hannah’s own presence: not as muse in the traditional sense, but as origin point of a shared visual language. From there, the circle expands.
Lola, a Paris cabaret performer, slips through the campaign like a nocturnal signal—half performance, half lived identity.
Jev, working directly with the designers, blurs the line between subject and author, turning creation into a continuous exchange rather than a final product.
Beauty here is not styled, it is transmitted.
It moves like code between bodies who already know each other too well.
The campaign doesn’t ask to be understood—it asks to be recognized, like a memory you’re not sure you lived or inherited.
“The idea began with what beauty means to us,” the designers say. “Hannah’s individuality was the starting point. Then it became something larger—an ongoing conversation with the people closest to us.”
What remains is a closed circuit of aesthetics and intimacy, where identity is not performed for the outside world, but circulated within
it.
In Hannah, beauty is no longer an image.
It’s a system you enter, and maybe don’t leave unchanged.
