Zoé Vy Anh

Hello Arnau, thank you so much for having me! 2025 is a really special year for me: it’s the first time I don’t have a clearly defined plan for the entire year like I used to throughout my life. It’s sometimes scary, but I love it! I’ve had to step out of my comfort zone many times, but it feels like I’m really growing from it. I currently live between Paris and Asia, like I always wanted, and it brings me so many opportunities and allows me to meet so many different types of people. It helps me grow both as a person and as a designer. My plans for the rest of the year are very exciting and challenging, but for the moment, I’ll keep them secret. ;)

More than just fashion, I think I’ve always had a taste for things and a desire to create. My first real encounter with fashion was probably when I used to imagine and sew dresses for my dolls. Later on, fashion became a way for me to express myself and my personality, especially since I was a very shy teenager. What truly brought me into fashion was my love for Japanese culture. I was a huge fan of Japanese fashion, and as a teenager, I wanted to wear traditional tabi shoes. One day, I came across this ‘stylish’ version of tabi shoes designed by Martin Margiela, and I instantly fell in love. That led me to explore his work further, and his approach to fashion — especially through upcycling and unconventional ideas — really spoke to me. From there, I became curious about other designers and the fashion industry in general, and here is where I am today.

It was a long journey before I found my way into leather goods design, but once I did, it felt completely natural. One of the questions I get asked the most is, “What did you study?” and it’s often surprising when I tell people I never studied fashion. I have a master’s degree in Industrial Design.

Long story short, like many Asian kids, for a long time I thought I would become an engineer, but as I mentioned before, I’ve always had this creative urge. So at the very last minute, even though I had been accepted into a classe préparatoire scientifique in Paris, I changed paths and enrolled in an industrial design school because I thought it was the perfect compromise between engineering and creativity — a way to design tangible things with both form and function. I also considered fashion schools, but at the time, I thought that world wasn’t for me because nobody around me was working in that field — it was a really unknown world to me. I didn’t like my school, to be honest. I constantly felt like I didn’t quite belong. That feeling motivated me to find my own way into the fashion world.

I first started working on my own fashion projects for my portfolio and shared them on social media. I also chose to specialise in product design, which allowed me to design accessories. Then, designing bags became my goal. Getting my first opportunities in fashion wasn’t easy, and they weren’t in bag design at first. But after a lot of hard work and persistence, I finally managed to break into the very niche world of leather goods design.

Louis Vuitton was my first office job experience in bag design; before that, I had worked in other areas of accessories design, like jewellery and eyewear. I am incredibly grateful for the opportunity to begin my career with such a prestigious name in the leather goods industry, and I learned so much during my time there. It was a very challenging period in my life, both professionally and personally, but it helped me grow as a designer and as a person. When you are a creative, having great ideas and talent is not enough; you need to learn discipline, rigour, and how to work, whether alone or with a team. Fashion is not only about ideas and concepts, and working for a big house is, in my opinion, essential to learning the full process and the methodology behind it. I was still working on my personal projects on the side to ensure I stayed true to my style and creative purpose. When you’re a hundred percent dedicated to your job and immersed in the vision of a creative director, it’s easy to lose touch with your own essence. But this job at Louis Vuitton was absolutely necessary in shaping the designer I am today, and I feel that even more now when I work as a freelancer for different brands.

Based on my previous answer, I think it’s no surprise that the first luxury item I bought in-store was a pair of tabis from Maison Margiela. I got the original white heeled ones. I was in Italy, and I had to save up for almost two years to afford them because I was still a student at the time. It was such a special moment for me. That wasn’t technically my first luxury item — I had already been buying second-hand designer bags for next to nothing, since resale wasn’t popular at all back then — but the tabis were the first brand-new luxury piece I bought in-store.

The difference when working with independent brands is that they choose you as an individual — as a designer — for your style, your personality, and your expertise. They want you and your vision. So depending on the client, they give you more freedom because they trust you. These brands are usually more focused on clothing, so they have limited knowledge about bags and accessories. That’s where I come in: I bring my experience as a fashion designer specialised in bags and accessories, and help them design their first bags. I imagine what the identity of their accessories line could be, ensuring it stays aligned with the aesthetic and story of the brand. I start from scratch. When you work for a big Maison, it comes with its own heritage, and that makes innovation more challenging.

I designed this collection when I moved to Japan — a moment I had been dreaming of and preparing for over seven years. It was such a meaningful chapter of my life that I felt the need to express my experience in a creative way, so I could have a memory of this moment. As a bag designer, it was natural for me to translate this journey into a bag collection. I have a deep admiration for Japanese culture, traditions, and arts, so I wanted to delve into these aspects of the country by practicing different arts and fully immersing myself. I thought that maybe it would bring me inspiration for my bag collection. I began with ikebana, the art of Japanese floral arrangement. This first bag confirmed the theme of the collection for me: Japanese arts and crafts. From there, I practiced Japanese ceramics, tea ceremony, and all the other arts that I represent in my bag collection. It was essential for me not just to draw visual inspiration and create something “aesthetic,” but to truly understand the essence of each art form. My goal was to design pieces that were coherent, respectful, and meaningful — each piece telling a story rooted in a deep connection with the craft that inspired it.

Thank you so much! That’s the piece that matters most to me as well. It’s the first bag of the collection and the one that started it all. As I mentioned before, I wanted to explore various Japanese arts in order to find inspiration. I don’t like to find inspiration only through archives and fashion references. To me, it’s essential to experiment, look at the world, and find inspiration in unexpected ways. The idea of starting with ikebana came from the fact that I had always wanted to practice it. I first discovered ikebana in a manga when I was maybe twelve, and it fascinated me — the rules, the rigour, the structure, the hierarchy. Living in Japan was finally the moment to truly understand it. This first experience inspired the Ikebana bag, which allows you to create ikebana arrangements inside — like a portable vase. I would never have been able to imagine this piece if I hadn’t practiced ikebana — the functionality led to the design. It confirmed to me that I was on the right path with the collection, and I wanted to keep this process of discovering arts for the next bags. The funny thing is that I loved ikebana so much that I’ve continued practicing it since, with ikebana masters. I now have two certificates, and even after returning to Paris, I’ve received job opportunities related to it.

I honestly brought myself there (laughs). It was my dream for so long! I’ve been studying Japanese since 2017 alongside my studies and jobs because I knew I would move there one day no matter what. I was supposed to move there first in 2020, but then Covid happened. I tried again later, but the timing wasn’t right. I kept going, then finally made it happen. I lived there for a whole year, came back to France for a few months, and now as we speak, I’m back again — so yes, you can guess that I love this place so much. It’s a special place in the world that makes me feel genuinely happy and at peace.

I think my interest in these types of arts — architecture, furniture, and product design — mostly comes from my background in industrial design. Even though I work in fashion, I have a highly technical and practical way of thinking and designing — it isn’t just about concept. I would hate to create something that’s just cool or aesthetic. No matter how complex, beautiful, or impressive a design is, it also needs to be useful and practical for everyday use. At least that’s my approach, which is really similar to architecture or furniture. Those are things meant to be lived with, to improve daily life. That said, I truly admire and love designers who create spectacular designs that aren’t necessarily meant to be worn. That’s just not my personal approach to fashion.

Thank you for saying this about vegan leather!!! It’s such a marketing tool to sell you plastic that is even more harmful to the environment. In my opinion, the best way to make bags will always be with animal leather. It’s the oldest form of upcycling. Tons of animals are eaten by humans every day — what should we do with the skin? Real leather is the best quality and lasts a lifetime. A bag that you will use forever and pass on to your daughter or grandchild — for me, that’s the most sustainable bag you can buy. Of course, some leathers are better and more ethical than others. For my designs, I always make sure of the origin and only choose vegetable-tanned leather.

Aaaaah, that’s such a hard question! I personally love a classic, timeless bag — but with a twist that makes it special and reflects my style and personality. At the end of the day, I’m just a girl, and I want my Hermès Birkin bag — BUT the Shadow Birkin by Jean-Paul Gaultier in black. A classic with an edgy touch. I just love it!

I don’t want to speak badly about someone’s favourite bags… After all, there are bags I personally love that others might find ugly, and vice versa. Taste and our vision of beauty are completely subjective. That said, if I had to name the most overrated it-bag, I’d say the Chiquito by Jacquemus. I’m not a big fan of bags that are barely functional because of their size, and to me, the design and proportions aren’t particularly refined. But we have to give credit where it’s due: what Jacquemus did was brilliant. He created a micro bag trend and completely owned it. He imposed a new silhouette on the industry and made it iconic. That, in itself, is impressive.

I never talk about my projects until they’re done, but a big change is coming soon in both my career and personal life. Everything is linked, and you’ll discover it in the upcoming months. I’m very excited about this, and it might even turn out to be a life-changing experience. In the meantime, all I can say is that some of the freelance designs I worked on for clients will finally be released by the end of the year (some of them I worked on a year ago!). So I’m very happy to be able to show you more of my work soon.