Last week I made the case for you that Paris Fashion Week, which just wrapped up on March 10, is yet another example of elitist satanic worship — the same brand of wickedness we see festering all throughout Hollywood and among other elite circles.

Now I’m going to prove it to you.

Official descriptions boast that Inferno is 'not just a party' but a 'ritual.'

In my previous article, I awarded the gold medal for the most in-your-face demonic collection to French fashion label Matières Fécales — translation: Fecal Matter. Its Canadian founders, Hannah Rose Dalton and Steven Raj Bhaskaran, paraded a sequence of grotesque looks down the runway that included models distorted by nightmarish prosthetics and grisly surgical wounds; ensembles one would expect to see in a film about ghouls and grim reapers; and overtly satanic elements, like devil horns, fake blood, and cult-like theatrics.

The nonconforming, alien-esque duo attempted to justify their freak show by slapping a satire label on it. All the nauseating pageantry and horror were nothing more than a critique of elitist power and privilege, they said.

It’s a recycled narrative we have heard countless times from stars and public figures questioned about their dark spectacles. If the staleness of their defense wasn’t cause enough to reject it as a lie, then Matières Fécales’ partnership with Lewis G. Burton — the obese, transgender, intersex “Mother” of London’s queer underworld — certainly is.

He was one of the “models” chosen to don a look from the label’s Fall 2026 “Ready-to-Wear” collection — a hooded black floor-length robe resembling that of a satanic priest.

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A far cry from the skeletal catwalkers we’re accustomed to seeing on high-fashion runways, Burton’s large figure, which he proudly uses to fight “fatphobia” and push “fat liberation,” is a core piece of his identity.

It is his stated intention not only to normalize but to glorify obesity and objective ugliness. In a 2019 interview with i-D magazine, Burton, a trained performance artist, said, “When I was first on stage being garish and grotesque, I was shoving my ugliness in people’s faces. I was saying: I feel repulsive because you made me feel repulsive, so now you have to look at it. Now I see it differently because I think I’m f**king beautiful! It’s a new extreme now. It’s about showing that beauty to the world.”

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Beyond the body: Burton’s activism and influence

But fatness is the least interesting layer of the onion that is Burton.

As a founding member of London Trans+ Pride — which he helped grow from just 1,500 people in 2019 to over 100,000 in 2025 — he remains one of the most visible faces of London’s trans activism.

He advocates radical positions for a number of LGBTQ+ issues, including faster and fully funded gender-affirming “care” for transgenders, access to puberty blockers for children, mandatory inclusion of trans people in single-sex spaces, and a ban on all nonconsensual surgeries on intersex children.

Like the majority of left-wing activists, however, Burton’s cries of oppression echo throughout multiple grievance movements. He has steered London Trans+ Pride toward aggressive intersectionality, most notably marching in solidarity with Palestine, which predictably (and paradoxically) includes condemnation of Islamophobia.

Marches, “visibility” events, and left-wing activism are almost unremarkable, though, when compared to Burton’s prominent role in London’s underground queer scene.

His traveling queer techno rave and performance art platform “Inferno” — inspired by Dante Alighieri’s epic poem about the nine levels of hell — is described as “seven layers” of “queer heaven,” where each circle explores new depths of perversion, varying in intensity from “gentle” rituals of chosen-family bonding to the darkest, most depraved circles of sweat-soaked techno, body horror performance, and explicit queer pornography.

Devoted to its hell theme, Inferno events are notorious for their red-drenched lighting, thick smoke, dark and shocking costumes, grotesque performances, and hedonistic indulgences.

One Inferno attendee described an event like this: “A dark warehouse illuminated by a sea of red textiles and clouds of smoke. … Inferno is a space where everyone can express themselves, whether it be through extravagant, tentacle-like costumes or full body paint.”

RELATED: Satan struts at Paris Fashion Week — here are the 3 most demonic designers

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From hedonism to ritual: The spiritual dimension

But Inferno’s unmitigated paganism doesn’t stop with carnal pleasures. It embraces the spiritual, too.

Witchcraft language is woven into its DNA. Official descriptions boast that Inferno is “not just a party” but a “ritual.”

Additionally, Burton, who styles himself as the “mother” of the matriarchal “Inferno family,” appears to occupy a spiritual role in which he uses his music to cast what he calls spells.

“MOTHERS MILK is more than a music video — it’s a spell,” reads the YouTube description for his most recent song, which he regularly performs live before the dark, gyrating Inferno masses.

Burton’s spiritualism, however, extends beyond the dance floor. In addition to the grotesque, hellish aesthetics that dominate his Instagram account (view at your own risk), he regularly posts new moon rituals, guiding his followers through candle ceremonies and “cosmic resets” that he frames around themes of divine femininity and personal transformation.

In doing so, he positions himself not merely as a DJ or party host, but as a spiritual guide for the community that gathers under his influence.

This fusion of radical progressivism, New Age spirituality, and unapologetic darkness that Burton embodies is not merely a new pagan religion — it's proof that evil operates in interconnected webs.

Webs of alignment and influence

I write this not to stir up hatred for Burton. I actually deeply pity him. When I see people this spiritually lost and psychologically ill, my first thought is always to wonder about where the original break occurred — what trauma, indoctrination, or misfortune sent them down such a dark path.

I write this to illustrate that when elites and public figures shove objective evil down our throats — like Matières Fécales’ demonic Paris Fashion Week collection — they are not being ironic or critical. They are showing us what team they play for.

Choosing Burton as a model was no gesture of inclusivity. It is alignment of values. And in fact, in 2019, Matières Fécales directed the music video for Burton’s song “Hermaphrodite.” They are embedded in the same sick circle.

And that alignment of values extends upward: from the governing bodies of Paris Fashion Week, which embrace the grotesqueness of the Matières Fécales label; to high-profile celebrities who attend the shows and wear the designs — Chappell Roan and Lady Gaga among those who have prominently supported the brand — and who publicly align with the broader community Burton represents; and ultimately to the influential figures and institutions that promote radical progressivism, deliberately unraveling society through the erosion of morality and the poisoning of institutions.

Normalizing the dark: An upside-down world

This is a dark web, and at the center is a worship of evil and the intention to normalize it and sell it to the masses as something that is actually good. Fatness is fabulous. Ugliness is beauty. Perversion is uniqueness. Depravity is liberation. Hedonism is self-expression. Darkness is an aesthetic. Witchcraft is misunderstood. Truth is subjective. Opposition is violence.

Satan is symbolic.

I do believe that many of these people, likely Burton himself, genuinely think that Satan is nothing more than a way to anger the cisgender white conservative oppressors — just a red-tinged aura to throw one’s rage behind.

I wish that were true. It would make the stakes a lot lower. But the truth is that the Satan they flirt with is not a symbol, a muse, or a vibe. He’s the very real and active root that feeds every dark idea, movement, and deed. He is also the mastermind behind the careful framing and packaging that makes objective evil palatable for the masses.

But what does it say about society when something as universally revolting as Fecal Matter or “Mother” Lewis G. Burton are hoisted up as trophies of progress on an elite stage? No one who retains control over his own mind can behold these things and genuinely approve.

To me it means that the primordial plan to engulf the world in darkness is reaching later phases. It reminds me of the scene in “The Fellowship of the Ring” where the trolls and other fell creatures have begun leaving their shadowed lands and are encroaching on peaceful borders. This breach is interpreted as a sign that the Enemy is growing strong and foreshadows the great battle to come.

Our great battle is drawing nearer, too. The signs are everywhere. You don’t even have to search for them. Just look to the streets, the classrooms, the halls of power — or the runways.

My hope, however, is that we don’t make the same mistake as Matières Fécales, Burton, and other embracers of darkness and reduce Satan to a symbol by directing our fury at people who are merely pawns in this cosmic game — forgetting that this has never been, and will never be, a battle of flesh and blood.