Recently, I expressed my view that the conclusion of Paris Fashion Week, which wrapped up on March 10th, serves as another instance of elitist Satanism—similar to the problematic practices prevalent in Hollywood and among other elites.
Now, I’ll elaborate on that perspective.
The official description of the recent show claims it’s a “ritual” rather than merely a “party.”
In a previous article, we designated the French fashion brand Matières Fécales as the standout for the most overtly sinister collection. The name roughly translates to “feces.” Designers Hannah Rose Dalton and Stephen Raj Bhaskaran from Canada showcased a series of unsettling outfits on the runway. Models appeared with disturbing prosthetics and gruesome surgical scars, creating looks reminiscent of horror films involving ghouls and reapers. The collection incorporated clearly demonic themes, featuring devil horns, fake blood, and performances steeped in cult-like theatrics.
They attempted to frame their bizarre presentation as satire. Supposedly, the grotesque display served as a critique of elitist power and privilege.
We’ve heard variations of these justifications often from celebs. If their explanations sound overly simplistic, that’s probably because they are. The collaboration of Matières Fécales with Lewis G. Burton, an extreme figure in London’s queer scene, further complicates their narratives.
Burton stood out as one of the models showcasing a design from the brand’s upcoming collection—a long, hooded, black robe suggestive of a demonic priest.
Unlike the thin models typically found on high fashion runways, Burton’s larger physique is integral to his identity, which he uses to challenge ‘fatphobia’ and advocate for ‘fat liberation.’
He has openly claimed his goal is to normalize and even celebrate obesity and unconventional aesthetics. In a 2019 interview, Burton recounted how stepping onto the stage with his unique appearance was a way of confronting societal standards of beauty, insisting that he finds himself beautiful and wishes to present his vision to the world.
Burton’s Broader Influence and Activism
Yet, Burton represents much more than just a figure of obesity.
As a founding member of London Trans+ Pride, he played a vital role in its expansion. In 2019, around 1,500 people participated, which swelled to over 100,000 by 2025. He remains a prominent advocate within the transgender community.
Burton supports several radical positions concerning LGBTQ+ rights, including increased funding for gender affirmation care and defending access to puberty blockers for minors. His stances also include mandatory inclusion of transgender individuals in same-sex spaces and opposition to surgeries on intersex children without consent.
Similar to numerous activists on the left, Burton’s fight for suppression reverberates through various grievance movements, steering London Trans+ Pride towards a focus on intersectionality that oddly partners with other contentious issues.
Yet, compared to Burton’s role in the underground queer movement, other forms of activism seem secondary.
His platform “Inferno”—a traveling queer techno rave and performance art collective inspired by Dante Alighieri—is characterized by an exploration of varying degrees of human depravity. Attendees experience everything from gentler rituals celebrating chosen family to the more extreme realms of techno music, body horror, and explicit performances.
Inferno events are marked by dim, red lighting, heavy smoke, disturbing costumes, and hedonistic experiences.
One attendee described an infernal night as being set in a dark warehouse illuminated by red lights and volumes of smoke. Inferno provides a haven for free self-expression through extravagant costumes or even full-body paint.
Ritual and Spiritual Elements at Play
However, Inferno’s approach intertwines paganism with spirituality, straying well beyond hedonism.
The event’s organizers insist Inferno should not be viewed simply as a party, but as a kind of ceremony.
Burton sees himself as a “mother” within the “Inferno Family,” suggesting a spiritual role through music he claims has spell-like qualities.
Describing his recent song “Mother’s Milk,” he goes so far as to say it’s more than a music video—it’s a spell, which he often performs for his fervent crowds.
Burton’s spiritual pursuits don’t remain restricted to the nightlife. He frequently shares rituals on social media, guiding his followers through candle-lit ceremonies and “cosmic resets,” focusing on personal transformation and divine influences.
This fusion of radical progressivism, New Age mysticism, and a blatant embrace of darkness highlights a new form of paganism that suggests an interconnectedness to darker forces at play.
Collaboration and Community Dynamics
I write this not to incite hostility towards Burton. Rather, I genuinely feel for him. Witnessing individuals so spiritually lost prompts reflection on what life events may have fostered such disconnection—what kinds of trauma or indoctrination led them here.
I aim to illustrate that when elites and public figures present clear instances of objective evil, as seen with Matthière Fécard’s unsettling collection, it isn’t done with irony. It represents a decision on which side they stand.
Choosing Burton as a model wasn’t about inclusivity; it was a validation of shared values. Intriguingly, back in 2019, Matthière Fécard was involved in creating a music video for Burton’s song “Hermaphrodite,” linking them into a shared network.
This alignment of beliefs stretches into the higher echelons, from the governing bodies overseeing Paris Fashion Week, which embraces the boldness of brands like Matthière Fécard, to celebrities who support them, such as Chapel Lawn and Lady Gaga. This ties into broader societal influences that promote radical progressivism, aimed at destabilizing societal norms through moral decay.
Normalizing Disturbing Trends
This is a complex web at its center, revolving around a cult-like manipulation of evil, aimed at normalizing it for mass consumption—subtly reversing perceptions of reality. The messaging is powerful: ugliness equates to beauty, and perversion becomes unique. Hedonism transforms into self-expression, and darkness is painted as aesthetic.
Some individuals may genuinely believe that invoking Satan serves to provoke those they see as oppressive. I wish that were the case; it would make the implications less grave. Yet, the truth is much darker. The figure they flirt with isn’t merely symbolic. It represents the very core of malignancy fueling sinister ideologies.
The troubling question stands—what does it mean when something as universally unsettling as human waste and figures like “Mother” Lewis G. Burton become celebrated on an elite stage? Those who maintain a clear perspective find these realities hard to confront.
I conclude with a sense that we may be nearing critical moments in a broader agenda to drown society in darkness. It brings to mind a scene from “The Fellowship of the Ring,” where monstrous entities start to emerge from shadows, heralding greater threats ahead.
Our battle mirrors this narrative and is also approaching. We see signs everywhere—on the streets, in classrooms, and within influential spaces.
However, I hope we recognize that, like Matthière Fécard, Burton, and their supporters, we shouldn’t reduce the complexities at play to merely a battle against individuals, who may simply be pawns in a larger scheme. This struggle has never just been about physical conflict.
