Weinsanto's kitchen nightmare kicks off Paris Fashion Week

Despite persistent rain in Paris, a brief ray of sunshine managed to break through the clouds, perfectly illuminating the glass façade of the Pompidou Centre. It was a fitting moment for the occasion, as this iconic modern art museum became the setting for the much-anticipated opening of Paris Fashion Week. Over 60 shows will take place across the city over the next week, with Alsatian designer Victor Weinsanto opening the festivities.

Guests, including famous drag queens Keiona and Nicky Doll, rode the escalator up to the museum’s sixth-floor rooftop terrace, where they were greeted by a stunning panoramic view of Paris. The grey, rainy backdrop of the city served as a striking contrast to the vibrant energy of the interior. Landmarks such as the Notre-Dame Cathedral, the Eiffel Tower, the Montparnasse Tower and the skyscrapers of La Défense loomed in the distance. The event, held at the Georges restaurant, designed by renowned architects Renzo Piano and Richard Rogers, was elegantly adorned with red roses, ready to host the “first course” of fashion week.

The choice of location was not accidental. It was an integral part of Weinsanto's vision: a performative and interactive prelude to the collection itself. Drag queen Le Filip, winner of the third season of Drag Race Francetook on the role of master of ceremonies, sporting a tight white corset and a spectacular blonde mane. With a comic touch, Le Filip offered a funny parody of Cauchemar in the kitchen (Kitchen Nightmares), the popular French show hosted by chef Philippe Etchebest. Joining in on the fun were actress Camille Lellouche and Weinsanto’s longtime muse Allanah Starr, who seamlessly transitioned from dinner guest to part of the show.

“This whole idea came from the opportunity to present in such a unique and iconic space. I wanted to make the most of the moment by adding a playful performance alongside the show,” Weinsanto explained backstage to FashionNetwork.com. Known for his cabaret-inspired designs, Weinsanto combined fashion with entertainment, pushing the boundaries of the traditional catwalk format. “The concept was to take something popular and rework it in an avant-garde and slightly quirky way,” he added, reflecting on the whimsical nature of the show.

And the fashion was on point, in true Weinsanto style. A protégé of Jean Paul Gaultier, Weinsanto brought his renowned talent for corsetry back to the fore. This season, however, he introduced new variations on his staple designs. From structured versions in satin lace to sheer black pieces and even denim, corsetry remained the anchor of the collection. His signature playful exuberance was visible everywhere: daring dresses and miniskirts that brazenly exposed the models’ backsides, tops and dresses with sparkling jewels and ultra-tight bodysuits that transformed into a second skin.

Although tailoring became the central theme, with oversized pinstripe coats, smartly tailored blazers, wide-leg trousers and short dresses, Weinsanto wasn’t shy about injecting colour into the collection. A series of pieces in a deep blue and violet print, including a tulip-neck minidress, accentuated the collection’s otherwise neutral palette. “I wanted to combine my current obsession with beige and my past love of psychedelic and colourful prints,” the designer shared.

Accessories, as always, played a vital role in Weinsanto’s overall vision. Neck scarves paired with sunglasses conveyed an elegant and feminine vibe, while oversized jewelry, black bags with the brand’s signature “W” and a striking parasol shaped like an inverted Eiffel Tower added a touch of fantasy to the looks.

The most talked-about accessory of the show, however, was undoubtedly the beret, which Weinsanto reinterpreted in a variety of textures and patterns. “I love berets. They are an iconic piece of Parisian style, so when I had the opportunity to show in a place like this, I couldn’t resist incorporating them into the collection,” Weinsanto explained. Reviving the accessory that is often considered a cliché, she gave it a playful twist. “I always joke: I imagined an ‘Emily in Paris’ who had gone too far,” she laughed.