Without getting lost in his thematic influences, Weinsanto issued a thesis on Parisian style with boyish, sexy silhouettes. He juxtaposed haute couture elements with a more perfunctory ready-to-wear offering. With the couture-adjacent elements, Weinsanto was drawn to something literal to heighten the drama – a tailored jumpsuit resembling a glass of champagne. With the ready-to-wear, he leaned into something more classical and refined, but with the influence of the decorative nature of Art Nouveau in prints and embroideries. There were corseted mini dresses styled with oversized pants and polo tops with corset detailing.
“I wanted to make more classical garments and focus less on trying to be cool. It’s sellable with a twist, but you can still understand that it’s my brand,” Weinsanto said on a video call from his Paris studio.
What would you like us to know about the collection?
When we confirmed the location for the show, I wanted to do a spin on Cauchemar en cuisine. It’s Kitchen Nightmares, everything goes wrong. The show is based on a live experience. Le Filip, who plays Philippe Etchebest, will yell at people. My friend, Angèle Micaux, will play the restaurant manager.
From there, I wanted to translate it into the collection without being too literal. It’s more about Parisian style, but we have some nods to the restaurant – there’s a huge, two-metre-wide hat shaped like a plate. Overall, I wanted it to be a mix of my earlier seasons where the prints were strong, joyful, and younger, with some more mature elements from recent seasons.
How important is collaboration in your design process?
[The people I work with] are more family than team members. We create everything together. We are having fun. We know each other, we love each other. I need to work with these people because we grow together and, when I feel comfortable, I’m a better designer. You might not see it, but I’m quite shy; so it’s good for the collections when I’m working with my team, my family.
How would you characterise your growth as a designer?
I’m embarrassed when I see my old work. What’s fun is that I’m still the same: I still have the same inspirations; I want to make people laugh; I don’t care if people think it’s ugly or beautiful. I want people to see the craftsmanship and understand that it’s not a cheap garment.
How does it feel to be part of a legacy like Paris Fashion Week®?
I am grateful for the support of the Fédération. My parents don’t understand much about what I do, but when they see that I am opening Paris Fashion Week® and Louis Vuitton is closing, they think it’s amazing.
What would you like to achieve in the next five years of your career?
I never know what to expect and things never happen how I expect them to. The brand is evolving right now and we’re hiring more. It means I can focus more on my aesthetic as a designer.
This interview has been lightly condensed and edited.
