The Series ‘Fashion’, which have emerged at the turn of the millennium and evolved until the artist's death, represents objects-sculptures of human scale that embody beauty and mystery of women dress.
As art historian professor Hans Maria de Wolf described, “they are all made out of recuperated cardboard and carefully folded, cut, manipulated, perforated, painted until they become those extremely sensitive female profiles, that all together become such a unique tribute to the earthly WOMAN.”  (Hans M. De Wolf. “Vu Dan Tan. Venus in Vietnam,” catalogue of the exhibition “Forme e Anti Forme”, Milan, 2015, p. 128.)
In addition to examining women's sexuality, the works conceptually reference themes of strength and domination, presence and absence, as well as publicity and privacy. In her discussion of the various conceptual interpretations of these works, Dr. Iola Lenzi remarks: “From the seminal kernel of the boxed Venus, emerges Vu Dan Tan’s 2000 Fashion series, the artist taking his Venus out into the world. Now constructed from virgin sheets of brown cardboard, these three-dimensional human-scale effigies are costumes that if faceless, yield all the individuality of the invisible protagonists they clothe. Belonging to women, with their breast cut-outs and pubis-located slits and slashes, whether in short version or long, the paper clothing dispenses a candid sexuality. Uninhibited in their erotic suggestion, and sometimes combative, these suits, even though crafted from soft, ephemeral card, are more armor than dress.” (Iola Lenzi. “Venus in Vietnam: Woman and the Erotic in the Art of Vu Dan Tan and Nguyen Nghia Cuong’, exhibition catalogue “Vu Dan Tan & Nguyen Nghia Cuong. Venus in Vietnam”. Hanoi, Goethe Institut, 2012, p.25).