At only 25 years old, Phan Dang Hoang has already made waves in the global fashion scene, achieving milestones that many designers spend decades pursuing. Last year, he earned a coveted spot on Forbes’ 30 Under 30 list, where he was celebrated for blending Vietnamese artisanship with his fresh Gen Z perspective—fusing hometown tradition with digital innovation. 

His latest collection under his namesake label for spring/summer 2026, “Lacquer,” beautifully captures this past-future relationship. Steeped in Gen-Z design philosophies, the pieces embrace gender fluidity, maximalist expression and a globally minded approach to motifs that bridge cultures and eras. The array also draws inspiration from Nguyễn Gia Trí, a Vietnamese painter who transformed traditional lacquer into modern art. Hoang took the legendary artist’s devotion to refinement and channelled it into menswear and womenswear pieces, weaving a succinct geometry into suits and gowns alike—some sourced from Vietnamese villages whose decades-long expertise in craftsmanship is unmatched.

The result of his era-mixing ways is a dialogue between geo-diverse fabrics and modern techniques. At Milan Fashion Week, this harmony was presented via an intoxicating mix of 42 looks blending elegance and exuberance. Models glided down the runway in avant-garde rattan dresses, silken shirts awash in vibrant and muted tones, and sleek black leather skirts and trousers that read as sculptural and sensual.

After the catwalk’s final look—a shimmering champagne evening gown with a kite-like train—Hoang was surrounded by buyers, admirers and journalists, all eager to capture a moment with the young visionary. Almost one hour in, when his last selfie with a throng of fans was done, Hoang sat down with 3 to talk about the cities, icons and global intersections that continue to shape his vision.

What city inspired this new batch of designs?

Nghệ An province and my childhood in Vietnam. I was born into a traditional art family. My grandparents are Vietnamese artists creating silk paintings, oil paintings and lacquer painting pieces about their lives. It made me want to do the same with fashion.

This particular show was filled with extremes and dramatic flair. Can you speak to that?

Most of my inspiration for this collection comes from Nguyễn Gia Trí. He’s a very famous artist in my country and is known for painting with lacquer. This collection is inspired by his strong passions. It also looks at my own childhood memories of scenery, of violence, of the technical and the natural. All the things I live with and work with in Vietnam, by machine or by human. For example, a lot of what was on the runway is handcrafted and woven.

What design cues from this collection bridge Vietnam and Milan?

I wanted this mix between Vietnamese and Italian style to happen organically because I was studying fashion in Milan five years ago and that experience made me sew Western and Eastern culture together. This collection really expresses that [blend] with its colour palette—which includes red, black, white, green and gold. These hues are drawn from many traditional Vietnamese lacquer paintings, inspired by Northern Vietnamese countryside scenes. From Milan, I carried with me the sense of structure and refinement from its architectural and artistic heritage.

Who was the first person you idolized as a design student in Italy?

Giorgio Armani. When I went to see the Armani salon, I felt like he was taking risks. For over 50 years, he has embodied elegance and Italian glamour while building a global fashion empire across couture and ready-to-wear. Then, Daniel Roseberry, the first American creative director of a French couture maison, Schiaparelli. He revived a nearly forgotten house and made it one of the most celebrated names in Haute Couture today. His surreal, futuristic vision stays true to Schiaparelli’s DNA while pushing the boundaries of creativity. I also like Bottega Veneta. They have many technical systems in place that make the clothes work as innovations and examples of a new, modern history in fashion. 

Do you have that same relationship to technology and craftsmanship in your work?

Oh yes. We will take more than 200 hours making a dress with technical insight. I work with a team, but sometimes I keep working on a dress alone when people leave the studio.

What was the most surprising material used in this collection?

The short pants are made from Vietnamese silk. It’s wheat corn—a kind of soft linen. But it’s not the linen that you are familiar with in Italy or North America. It comes from historical Vietnamese fashion. To make it current, I worked with artisans to dye it a neon color. 

Tell me how the sandals and bags for this collection further reinforce your need to bring different worlds together.

The sandals were created with Waa. Studios, also in Ho Chi Minh City, inspired by Vietnamese craftsmanship and made by skilled artisans. The high heels were designed with Shewak, a luxury brand from Dubai, known for their signature double-heel design. The jewellery is from Italy. Together, this mix balances different cultures as well as tradition and modern luxury.

What pieces in this collection are standouts for you?

The linen shirts, all the layering pieces, and the blue pants. I love the denim trousers. The white top with the big flared pants look is also very modern.

Let’s talk about your influences. What movies have impacted you the most?

Call Me by Your Name is number one. It reminds me of the feelings I felt when I was living in Italy. There’s a softness here; it’s a gentle place to develop as a designer. There are empty spaces, piazzas and people like me need peaceful surroundings. The second film is The Devil Wears Prada. It showed me the fashion world I wanted to be in. I met Anna Wintour three times and it was a dream come true because I read so much about her inspiring work, her journey, and how much she’s contributed to fashion. 

If this collection had a library, which books would be in it?

Any book on Vietnamese painter Lê Phổ. He worked in many different mediums and studied in Paris and Hanoi. Another book would be History of Beauty by Umberto Ecco. I read it when I was studying in university and its message has never left me. The last book is a technical textbook on design called Draping. Every time I read that book, I feel like I’m inside a classroom.

Which art spaces around the world fuel you?

The Louvre in Paris, Pinacoteca di Brera and Armani/Silos in Milan, and the Fine Arts Museum of Ho Chi Minh City.

Which music most inspires your designs? 

Pop music inspires me, especially Adele. Her music always accompanied me during the design process. She is powerful and timeless.

Style-wise, who are some famous figures that fascinate you?

Vietnamese singer and model Hồ Ngọc Hà. I admire her refined, glamorous style. Model Châu Bùi constantly reinvents herself as a fashionista, especially during Fashion Week. I love David Beckham. He would look great in so many of the clothes. And, of course, BTS. I think Anne Hathaway embodies elegance and true versatility with her sophistication, too. And Adele again. I love her consistent sense of mystery, often seen in her iconic black ensembles. 

Which place has given you the most inspiration for your collections?

I’ve seen so many colourful buildings in Venice and they changed my thinking about colour. I try to understand how these structures mix and match brick, cement and stone shades together. I always want to go somewhere I can see and feel myself in the architecture or in the nature surrounding it. Even when I look at the waters in Venice, and see the reflections of the buildings, I feel like they are saying something to me. I often go to the waters and think “here is the place to develop a full collection,” because I feel peaceful. 

This interview has been edited for length and clarity.