Breaking into haute couture has never been about talent alone. It is about patience, precision, and an almost ceremonial endorsement from the gatekeepers of Paris. Admission to the Fédération de la Haute Couture et de la Mode remains by invitation only, granted after a selection process that is as exacting as it is opaque.
This season, however, the calendar welcomes a new name. At 26, Phan Huy becomes the youngest—and the first Vietnamese—designer to present at Paris Haute Couture Week.
Huy’s rise has been swift but deliberate. He founded his eponymous label three years ago with Steven Doan, a stylist and designer who balances Huy’s instinctive creativity with strategic clarity. The partnership began when Doan encountered Huy’s early collections and recognised something rare. “The craftsmanship stood out immediately,” Doan says. “I wanted people to see Vietnamese creativity through a new lens.”
That cultural grounding runs quietly through Huy’s work. In his Fall/Winter 2026 collection, an angular corseted gown subtly references nón lá, Vietnam’s traditional conical hats. Elsewhere, inspiration unfolds more abstractly. His debut collection, La Moyenne Région, drew from a 1942 Vietnamese lacquer painting, translated into sculptural forms through 3D bonding and gold inlay techniques.
Technique is foundational to Huy’s practice, and central to his invitation. The evaluation process—design portfolios, technical dossiers, interviews, and an in-person runway assessment—demands not only mastery, but self-scrutiny. “We had to question everything,” Huy says. “Who we are, and whether we truly belong in such a system.” The acceptance, when it came, was met with restraint. “It was a quiet pride.”
That restraint defines the work itself: clean lines, considered palettes, and a composed femininity uninterested in spectacle. Which makes couture—often synonymous with fantasy—an intentional choice. “Haute couture was my childhood dream,” Huy reflects. “Even if people cannot own these pieces, being able to admire such beauty is already a way of touching it.”
Ahead, Huy speaks on his creative process, cultural references, and what it means to bring Vietnamese craftsmanship onto couture’s most rarefied stage.
What does your creative process look like?
Phan Huy (PH): I usually begin by searching for my sources of inspiration—things that stem from my personal emotions. From there, I look for tangible ideas to express that inspiration, which could be a fragment of memory combined with a painting that most closely reflects how I envision that memory. Once these initial, somewhat vague images take shape, I begin researching more deeply, developing the concept and building a mood board so everything gradually becomes clearer.
From there, I move on to material research, while simultaneously exploring techniques and sketching silhouettes and colour palettes. I then bring everything together, arriving at the final drawings, fabrics, and patterns for execution. The designs go into production through cutting, sewing, embellishing, and surface treatments, followed by multiple fittings to ensure each piece sits perfectly on the body. Finally, I complete the styling for each look—curating accessories, makeup and hair, as well as the overall concept for the runway show or campaign.
Which Vietnamese inspirations are you most excited to present in your upcoming haute couture show?
PH: For many people around the world, Vietnam is still perceived as a poor and underdeveloped country. But historical truth and present-day reality tell a very different story. Vietnam has endured many upheavals, yet it possesses a rich cultural heritage and periods of remarkable prosperity. There were flourishing dynasties that produced extraordinary individuals and refined achievements in art, painting, and craftsmanship.
My Couture Spring 2026 collection presents the light, pure beauty of spring. The central concept is Cành vàng lá ngọc (Golden Branches, Jade Leaves)—the name of a Vietnamese royal treasure. These are floral arrangements crafted by ancient artisans, with branches made of real gold and leaves carved from jade. Today, three such artefacts are preserved in Huế. Figuratively, cành vàng lá ngọc also refers to aristocratic sons and daughters of noble lineage.
The collection draws inspiration from historical Vietnamese figures such as Crown Prince Bảo Long, Empress Nam Phương, and King Khải Định—figures of the Nguyễn Dynasty, a period marked by cultural exchange between Vietnam and the West.
Which techniques are you most excited to introduce?
PH: In previous collections, audiences may have noticed bolder, more visually striking treatments. This time, inspired by the gentleness of spring and a deeper exploration of femininity and refinement, the collection focuses on subtle craftsmanship—details that reveal themselves only upon closer inspection.
For instance, 7-millimetre horsehair braids are meticulously applied onto mesh surfaces, a process that demands extreme precision to avoid wrinkling. Evenly spaced beads are then hand-sewn along the braids. In another technique, the horsehair braid is separated into individual strands, tied into small segments, and appliquéd to form intricate surface patterns.
To depict cành vàng lá ngọc, each organza leaf is embroidered along the edges, embellished with gradient beading, and individually attached to the gown to create a three-dimensional effect reminiscent of a blooming floral arrangement. Accessories inspired by royal objects—such as court tablets, imperial tokens, and gold and silver pendants—are also reinterpreted in a modern, distinctive way.
Who is the Phan Huy brand for?
PH: Phan Huy is for those who seek depth in art and fashion—people who do not chase fast trends, but value storytelling, craftsmanship, and quiet individuality. They understand that clothing is not merely something to wear, but a reflection of one’s inner world. Often, they are individuals who cherish heritage and are deeply moved by the beauty of art.
Your designs embody softness, classic beauty, and femininity. What led you to pursue these values, especially when many designers today gravitate toward darker aesthetics?
PH: The beauty of fashion lies in individuality. Just as every person in the world has a unique and singular character, I choose to pursue this aesthetic because it is the kind of beauty I truly love. I want to look at designs born from my most genuine emotions, unbound by trends or rigid standards. This approach reflects my personal aesthetic perspective—one that I wish to share with the world.
Do you ever think you might move away from these aesthetic values?
PH: I don’t confine or force myself into a fixed framework. As I’ve said, I love art in a pure way, and I want art to guide me from one emotional state to another. Isn’t that wonderful? That’s why I remain curious and open about what I might create in the future, what I will bring to people next, and what values I will continue to build for art.
What challenges have you faced on your journey as a designer?
PH: The biggest challenge is the pressure I place on myself. While it is pressure, in a positive sense, it becomes motivation for me to keep creating and striving harder. How can each new collection be more special than the last? What new experiences can I bring to the audience this time?
Additionally, as a young designer with a brand that has existed for less than three years, I must also manage operational aspects—building and maintaining a strong team, a true dream team. None of this is easy, but I remain calm and see every challenge as an opportunity to learn.
What impact do you hope to have on Vietnam’s fashion industry?
PH: I hope to contribute to elevating Vietnamese craftsmanship, showing that we not only have inspiration, but also the techniques and intellectual strength to participate in the highest arenas of global fashion. I also hope my presence can encourage greater curiosity about Vietnam’s rapidly developing fashion scene and help stimulate further growth within the industry.
Are there any Asian creatives who currently inspire you?
PH: Looking across Asia, I am deeply inspired by Miss Sohee from South Korea and Gaurav Gupta from India. It is truly a joy to be presenting my collection alongside them at the upcoming Haute Couture Week.
This story first appeared on GRAZIA Singapore.
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