Datuk Zang Toi On His Intergalactic Couture Creations And His Advice To Emerging Designers
The pioneering figure in Malaysian fashion unexpectedly reveals that he loves crunching numbers for his business.
Long before Rizman Ruzaini and Self-Portrait’s Han Chong made waves on the international fashion scene, Datuk Zang Toi, together with other Malaysian trailblazers like Datuk Jimmy Choo, was already making his mark abroad and helping to establish Malaysia’s presence on the global fashion map.
Datuk Zang Toi’s journey from a modest upbringing in Kuala Krai to the glittering world of haute luxury is a remarkable one, and a story that deserves to be told again. “I grew up in a small town in Kuala Krai, Kelantan. I was the youngest of seven, and my parents made us help out at their grocery store. We didn’t own a telephone or television growing up.” At the age of 20, he arrived in New York to study at the renowned Parsons School of Design. Only months after opening his own atelier, his work caught the attention of former Vogue Editor-in-Chief Anna Wintour, who went on to feature him in the magazine, making Toi one of the earliest Asian designers to receive such recognition. Since then, Toi’s creations have been donned by countless notable names, including Elizabeth Taylor, Sharon Stone, Eva Longoria, and Saudi Princess Haifa Bandar Al Saud.
His parents had instilled an entrepreneurial spirit in Toi from an early age, and now, 37 years into the business, he remains closely involved in the workings of his independent fashion house, from designing and fitting clients to overseeing the business behind the brand. He even handles his own publicity—something we experienced firsthand through the warm, personable emails he exchanged with us while arranging this interview.
For his Fall 2026 couture collection, unveiled during New York Fashion Week, Toi took guests on a metaphorical journey into outer space with ‘Grand Galactic Galaxy’. Inspired by images of Elon Musk’s SpaceX Starship, he imagined “jet-setters getting ready to go to Mars” in glamorous, space-age attire. A celestial palette of white, black, silver, and galaxy blue evokes rocket smoke, darkness, and distant stars, while intricate hand-beading, embroidery, crystals, and metallics lend the designs a futuristic, three-dimensional quality. “It’s the longest I’ve ever spent designing a collection, approximately 19 months. It was challenging, but it was fun to research something completely outside my usual world,” he says.
How do you maintain a distinct identity for Zang Toi in an increasingly crowded global luxury market?
When I first started out 37 years ago, I never followed trends or copied other brands; I simply followed my own creative journey. Today, it is extremely difficult to create a brand that caters to the upper echelon of American society. If you have a great product and a strong brand, you will survive the competition. My price point is probably even more expensive than Christian Dior or Chanel ready-to-wear, but it is the quality and craftsmanship that keep customers coming back, season after season.
Were there any subtle details of the collection that audiences might have missed?
Every garment is fully lined in pure silk, including the opening look—a white Saga Royal mink coat lined in the finest couture silk satin from Lake Como, Italy, which costs 10 times more than Chinese silk. It is also finished with a hand-beaded House of Toi medallion.
You rose to prominence at a time when few Asian designers had global recognition—what advice would you offer to emerging designers today?
Follow your own path and don’t try to be the next Coco Chanel or Yves Saint Laurent. Also, hard work is still the most important key to success; I work 15 to 16 hours daily. Whether I’m away on a trip, it’s my birthday, or it’s Christmas, I’m designing a collection.
You’ve described yourself as an entrepreneur—how do you foster a culture that is both highly creative and performance-driven within your team?
I know it’s a struggle for most creative people; they don’t want to deal with the business side of things. However, I love crunching numbers just as much as I love sketching a collection. You have to create something that is not only beautiful, but commercially viable enough to generate the revenue that supports your creative vision.
You’ve said you give 130 per cent to your work—how do you manage that intensity while avoiding burnout?
Whatever time I have outside of work, I like to spend by myself, recharging. I rarely attend social events or red carpets, unless it’s for a very, very special friend. I’ve never felt the need to be part of the in-crowd, and I credit that to the confidence my family instilled in me.
Who has had the greatest influence on your work?
It would be the late Yves Saint Laurent. He created beautiful day looks, evening tuxedos, safari looks, and the most glamorous yet wearable evening gowns. He also created some of the most beautiful tailored suits, and tailoring became such an important part of his identity. That’s also why I’m known for my tailored suits, although my approach is very different from their maison.
What is your most treasured possession?
An antique François Linke bed in my bedroom. There is a similar piece at The Metropolitan Museum of Art, but I made it my own by refinishing it in black lacquer and silver ormolu. Everybody tried to talk me out of it, but, in the end, they were amazed by how I turned it into a beautiful modern piece.
Could you share a favourite travel memory that has stayed with you?
I stayed at the legendary Ritz Paris on Place Vendôme when it reopened in 2016. We were the only guests for the first two days, and it was absolutely magical to have the entire hotel to ourselves.
When you return to Malaysia, what is one local dish you always make sure to have?
Kelantan’s nasi dagang; it was my favourite dish growing up, and it still is.
Photos: Aly Kuler
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