Despite the persistent rain in Paris, a brief ray of sunshine managed to break through the clouds, perfectly illuminating the glass façade of the Pompidou Center. It was a fitting moment for the occasion, as this iconic modern art museum became the venue for the much-anticipated opening of Paris Fashion Week. Over the next week, more than 60 runway shows will unfold across the city, and it was Alsace-born designer Victor Weinsanto who was entrusted with opening the festivities.

Guests—including notable drag queens Keiona and Nicky Doll—ascended the escalators to the rooftop terrace on the sixth floor of the museum, where they were greeted by a breathtaking panoramic view of Paris. The rainy, grey backdrop of the city served as a stunning contrast to the vibrant energy inside. Landmarks such as the Notre-Dame Cathedral, the Eiffel Tower, the Montparnasse Tower, and the skyscrapers of La Défense all stood tall in the distance. Taking place at the Georges restaurant, designed by renowned architects Renzo Piano and Richard Rogers, the space was elegantly adorned with red roses, ready to host the “first course” of fashion week.

The choice of location was no accident. It was an integral part of Weinsanto’s vision—a performative and interactive prelude to the collection itself. Drag queen Le Filip, winner of season three of Drag Race France, took on the role of emcee, donning a tightly laced white corset and sporting a dramatic blonde beehive. With comedic flair, Le Filip delivered a playful spoof of Cauchemar en Cuisine (Kitchen Nightmares), the popular French show led by chef Philippe Etchebest. Joining the fun were actress Camille Lellouche and Weinsanto’s long-time muse, Allanah Starr, who seamlessly transitioned from dining guests to part of the performance.

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

And fashion was indeed served, in true Weinsanto style. A protégé of Jean Paul Gaultier, Weinsanto brought his renowned flair for corsetry to the forefront once again. This season, however, he introduced fresh variations on his staple designs. From structured, satin-laced versions to sheer black pieces and even denim, the corsetry remained the collection’s anchor. His signature playful exuberance was visible throughout: daringly short dresses and miniskirts that cheekily revealed the models’ backsides, sparkling bejewelled tops and dresses, and ultra-fitted second-skin bodysuits.

While tailoring emerged as the central theme, with oversized pinstriped coats, sharply tailored blazers, wide-legged trousers, and short dresses, Weinsanto didn’t shy away from injecting colour into the collection. A series of pieces in a vivid blue and purple print, including a tulip-neck mini dress, punctuated the collection’s otherwise neutral palette. “I wanted to blend my current obsession with beige and my past love for psychedelic, colourful prints,” the designer shared.

Accessories, as always, played a vital role in Weinsanto’s overall vision. Neck scarves paired with sunglasses gave off an elegant, ladylike air, while oversized statement jewellery, black handbags featuring the brand’s signature “W,” and a striking parasol shaped like an inverted Eiffel Tower added a touch of whimsy to the looks.

However, the show’s most talked-about accessory was undoubtedly the beret, which Weinsanto reinterpreted in a variety of textures and patterns. “I absolutely love berets. They’re such an iconic piece of Parisian style, so when given the opportunity to show in a location like this, I couldn’t resist incorporating them into the collection,” Weinsanto explained. Reclaiming the accessory often seen as a cliché, he gave it a playful twist. “I always joke—I imagined an ‘Emily in Paris’ who partied a bit too hard,” he laughed.