From Toronto to the Tuileries: A Designer's Paris Story

Antoniette Catenacci's Haute Couture Journey to Paris Fashion Week

“How you make something matters just as much as what you make.”

The morning light streams through the windows of Antoniette Catenacci's Toronto atelier, catching on the intricate beadwork of a navy silk organza gown. It's Audrey Hepburn-inspired, strapless, tea-length, with a fitted off-the-shoulder bolero that manages to be both classically elegant and subtly provocative. The gown embodies everything that has made Catenacci a standout in Canadian fashion for over three decades: impeccable craftsmanship, an unwavering commitment to femininity, and that delicious tension between timeless and tempting.

But this particular morning feels different. In a few months, this gown won't just be admired in her boutique, it will glide down one of the most prestigious runways in the world.

"When I got the news about Paris Fashion Week, a million ideas rushed to my mind," Catenacci tells me, her hands instinctively smoothing an invisible wrinkle from a length of fabric draped across her worktable. "I was actually planning to go international with my designs before I even got the call. It's like the universe was listening."

There's no performative modesty when she speaks about this milestone, just genuine wonder tinged with a bittersweet longing. "I wish my parents were still around to see it. They saw me start from nothing, cutting and sewing on my mom's dining room table. They would be thrilled to see how far I've come since 1988."

THE ROAD LESS MANUFACTURED

In an era where "fast fashion" isn't just a business model but practically a religion, Catenacci remains gloriously, stubbornly devoted to the slow craft of couture. Every stitch is deliberate. Every seam tells a story. Her hands know the feel of luxury fabrics the way some people know their children's faces, intimately, instinctively, with fierce devotion.

The evidence of this philosophy is everywhere in her studio, from the meticulously organized spools of thread to the precisely labeled fabric swatches. Nothing here is rushed. Nothing is compromised.

"I was actually asked after my last show if I would consider manufacturing in China to increase profits," she says with a laugh that has a razor-sharp edge. "My answer was 'Absolutely not.' Because it's not just about money, it's about integrity and quality. I want to support our Canadian economy, not the economy of another country."

This unwavering commitment to craftsmanship has earned her a devoted clientele who come to her not just for beautiful clothes, but for an experience that feels increasingly rare: being truly seen, measured, and fitted by someone who cares about making them look their absolute best.

"I want my clients to feel special, to feel pampered. They're a representation of me when they walk out my door," she explains. "It's all about the client and their entire experience with me."

THREADS OF INSPIRATION

Catenacci's Fall 2025 collection for Paris draws from multiple wellsprings of inspiration. "Knowing I'm heading to Paris has inspired the new collection," she says. "The vibe will definitely have a 50s and old Hollywood glamour influence, but also a touch of 17th century France. A little Marie Antoinette..."

She trails off, clearly already picturing the runway in her mind, the music, the lighting, the gasp-inducing moment when her designs first appear.

Her creative process isn't about sitting at a desk with a sketchpad. Ideas come at random moments, often while driving or listening to music. "If a certain song comes on, I think of a runway and then imagine styles that suit the vibe of the music," she explains.

“There’s hardly anyone left who still uses traditional couture techniques. The world has become obsessed with mass production and profitability. I’m the complete opposite.”

More often than not, the fabrics themselves are her muse. "I'm a bit spoiled with my fabrics," she admits with a smile. "I usually choose them before my designs. My new styles are mostly inspired by the fabric itself."

This sensory, intuitive approach to design explains why her pieces feel so alive, they weren't born from marketing research or trend forecasts, but from genuine inspiration and emotional connection.

MOMENTS THAT MATTER

When I ask about career highlights, Catenacci doesn't mention celebrity clients or magazine features. Instead, she shares a story about Miss Universe Canada 2003.

"The most memorable and special gown was the very first one I made for Miss Universe Canada," Catenacci says, her voice softening. "Leanne Cecile wore my gown and made top 10. The night of the pageant, my father was in the hospital, so I ended up watching it just with my dad on those small old 15-inch hospital TVs. My dad was so proud that he had told all the nurses working that night."

She pauses, visibly moved by the memory. "It was special because it was something I shared just with my dad. I wish he could see how far I've come since then. He was always my biggest supporter."

This is the heart of Catenacci's work, not the glitz or the glamour, but the human connections forged through fabric and thread. The celebrations marked by her creations. The confidence bestowed by a perfectly fitted bodice. The way a mother's eyes fill with tears when she sees her daughter in a wedding gown that Catenacci has made by hand, stitch by careful stitch.

FASHION WITH HEART

Beyond the atelier, Catenacci's commitment to community shows in her philanthropic efforts. She recently turned a collection unveiling into a fundraiser for medical research through the University Health Network (UHN).

“It was special because it was something I shared just with my dad. He was always my biggest supporter.”

"Raising money for UHN is something that makes me happy," she says. "I love being able to give back and support such a good cause. It's an incredible foundation that has come so far in developing advanced solutions in spinal care."

This seamless integration of business and giving back feels natural for Catenacci, who views her success not as a platform for personal gain, but as an opportunity to create positive change.

THE FUTURE UNFOLDS

As Paris Fashion Week approaches, Catenacci is already looking ahead. "I will definitely be sourcing retail partners to carry my collection," she says. "I plan to expand internationally, possibly into the US, Italy, and France... to start." She smiles mysteriously. "There's another big project in the works for 2026, but you'll just have to stay tuned for that."

When I ask what advice she would give to young designers who dream of following in her footsteps, her answer is as straightforward as she is.

"Never give up," she says firmly. "Nothing good comes easy. If you want something, you have to work for it; nothing will be handed to you on a silver platter. You have to have passion, if you do, it doesn't feel like work, and you will put your heart and soul into it. That's what it takes to succeed. Don't do it just for the money; do it with love, and everything else will fall into place."

“Do it with love, and everything else will fall into place.”

As our interview concludes, Catenacci returns to the navy silk organza gown, adjusting a detail that only her expert eye can detect. In a few months, this dress will make its debut on a Parisian runway, but its journey began right here, in the hands of a woman who has spent over three decades believing that how you make something matters just as much as what you make.

And as the fashion world increasingly prioritizes speed over substance, Catenacci's approach feels not just refreshing, but revolutionary. A testament to the power of doing things the hard way, the slow way, the right way.

Paris awaits. And it has no idea what's coming.

Antoniette Catenacci's collection will debut at Paris Fashion Week Fall 2025. 

For more information or to schedule a private appointment at her Toronto atelier, visit antoniettecatenacci.com