Gabriette is truly one of a kind, with an unmistakable all-black heroine-chic style. That’s precisely why, when she walked down the aisle to Matty Healy of The 1975 last weekend in Los Angeles, she wore three different looks by Matières Fécales, marking the Paris-based label’s first foray into bridal – an inevitable pairing that felt like a match made in heaven.

Translated to Fecal Matter, Matières Fécales was founded by Hannah Rose Dalton and Steven Raj Bhaskaran in 2014, fed up with the industry’s wastefulness (hence the name), and has gained a cult following for their dystopian, politically charged collections and couture-level execution. The label juxtaposes dark, neo-gothic glamour and hardcore streetwear style with the opulence and fabrications of traditional red-carpet and couture runway looks. As seen on Zendaya for the Odyssey press tour and Sarah Paulson for the Met Gala, Matières Fécales has become a fixture among high fashion’s most discerning dressers, making it no surprise that Gabbriette chose them to dress her wedding.

The “Leigh” was the pre-wedding moment, born from a shared obsession, inspired by Francis Ford Coppola’s visual excess and gothic lavishness in Bram Stoker’s Dracula. The designers began with a black Martin Margiela gown already in Gabbriette’s wardrobe, a piece she’d owned and loved for years. Over this foundation, they layered white tulle, fracturing it with their signature destructive technique. The shredding begins at the hem and continues through, deliberately slashed openings running down the back. The formal black silhouette was interrupted by white unraveling as tulle erupts from the black, creating movement and volume in a study in opposition: the structured elegance of archive Margiela colliding with controlled destruction, tradition meeting intentional decay in a single garment. Christian Louboutin curved-heel pumps, warped and architectural, completed the look, continuing the theme of beauty refracted through distortion.

The “Gabriella” arrived for the ceremony. Hand-pleated white silk taffeta forms the bodice, giving the upper body structure and dimension. The back incorporates three distinct bustles that gather and peak away from the body, paired with a train that extends from the waist. Where the train meets the body, the edges are finished in the same fragmented tulle technique, so the back reads as controlled architecture at the top dissolving into intentional destruction at the base. A Stephen Jones veil sits atop it. The construction walks a line between bride-appropriate formality and the label’s insistence on visible unmaking.

The “Healy” was the after-party. Named after the groom (cute) and reserved for the reception, it’s a two-piece suit in lamb leather with the hems and cuffs trimmed with shredded tulle and Mongolian fur. A white satin riding hat by Stephen Jones sits on top. The suit is the antithesis of the ceremony gowns. Where both the “Leigh” and “Gabriella” negotiated between formality and decay, the “Healy” simply came to party.

What started with a simple DM and was constructed over five months in their Paris atelier, executing each seam and detail to perfection. When Gabbriette stepped into the ceremony gown, Steven watched a ‘distorted Cinderella moment’ materialize exactly as he’d sketched it. She and the designers had been speaking the same visual language from the start. Their first bride had to be someone who already understood them completely. For Matières Fécales, their first bride was never going to be anyone else. That bride was always going to be Gabbriette.