Vietnam’s traditional dress is a style for every occasion
15 Oct 2007 - Arguably the most elegant, demure and sexy outfit ever created in Vietnam, the ao dai is worn by women of all ages and has long since been established as the most popular costume in the country.
School girls dressed in delicate ivory fabric step carefully through muddy streets on their way home from school; office receptionists in long, silky pastels cordially greet clients; and elderly ladies in deep, striking shades of purple, green and blue look graceful dining out.In addition to traditional and festive occasions, a plain white ao dai is the uniform for female students in some middle schools, most high schools and some colleges.
Once mandatory for royal women of the Nguyen dynasty (1802-1945) during public functions, the ao dai has subsequently become the must-have attire for Vietnamese brides.
The dress has even inspired international fashion. Renowned designers like Ralph Lauren, Christian Lacroix and Claude Montana have used variations of the snug sleeves, fitted bodice, high collar and flowing trousers as seen in Hollywood and the catwalks of Europe.
The most popular style of ao dai seen today is decidedly form-fitting. Soft, flowing material drapes over the upper torso, emphasizing the bust. And while covering the entire body, the ao dai is decisively provocative thanks to the curve-emphasizing, thin and translucent material.
The customary tunic also appears to flatter nearly every figure with long, slimming trousers that brush the floor. High slits running down the gown’s sides have an elongating effect, while revealing an occasional glimpse of a bare midriff, contributing to the overall sensuality of the look.
Designed to inspire
Despite the widespread popularity of its current appearance, the ao dai has actually undergone countless modifications throughout the centuries. The original version, ao ngu than (ancient five-flapped Vietnamese dress) dates back to the early 1700s.This five-flapped ao dai was similar to the current incarnation in that it was still a flapped tunic with slits on both sides. But the front and back flaps were generally much broader, and the dress was much more loosely fit.
In 1930, the Vietnamese fashion designer Cat Tuong, known to the French as Monsieur Le Mur, decided to modify the gown.
He lengthened the ao dai so that the top piece reached down to the floor, while making the material fit the curves of the body more closely.
With the import of an abundance of foreign fabrics in 20th century Vietnam – notably broader fabrics – the modernized ao dai only required two parts to be sewed, unlike its five-part predecessor.
In Saigon during the 1950s, Tran Kim of Thiet Lap Tailors and Dzung of Dzung Tailors, modified the ao dai to a form closest to what is seen today.
He produced the gowns with raglan sleeves, creating a diagonal seam running from the collar to the underarm.
Everything from floral, checked and transparent fabrics have been used over the years, while the tunic length has been alternately shortened and lengthened.
Beginning in the 1990s, the long-tunic style has seen a surge in popularity, even with overseas Vietnamese and foreigners.
Innovation shines
Among the most famous ao dai designers in recent history, Si Hoang is credited as one of the first to breathe fresh air into the traditional dress by adorning it with his intricate paintings.His art ranges from beautifully embroidered symbols to scenes inspired by nature.
Hoping to popularize the ao dai on the international scene, Si Hoang has created jeans, T-Shirts and chemises influenced by the tunic.
His latest collection, entitled Suc Song Moi (new vitality), showcased at Thanh Nien’s charity gala, “Charming Vietnam,” in Singapore two months.
A great success, Hoang’s exhibition proved that however it is worn, the ao dai style can adapt to modernity while retaining its distinctly traditional charm.
Hoang claimed proudly, “The ao dai is a great Vietnamese cultural heritage. It’s not only the inspiration for fashion but also for poetry, music, paintings and movies.”
“The ao dai is an art and a fascination that never grows boring,” Hoang said at a media conference where a Vietnamese-filmed feature – Ao Lua Ha Dong (The White Silk Dress) was screened.
“The film received honors at Republic of Korean’s Busan International Film Festival 2006 and the Japanese Fukuoka International Film Festival 2007.
Foreign audiences are now beginning to appreciate the rich history of Vietnam and the cultural heritage of ao dai.”
Another designer who has played a large role in bringing ao dai to the world is Minh Hanh, a pioneer in using brocade as a new material for the long tunic.
Hanh received the honorable Knight of Arts and Literature award by the French government last year for her design contributions and her ao dai has been showcased all over Asia, Europe and North America.
Hanh recalls attending an overseas fashion event when a diplomat came up to her and said, “Your country has showed me diversity beyond my imagination in its beautiful fashion and its amazing ao dai.”
Several ao dai collections by Vietnamese designer Vo Viet Chung were also broadcast inter-nationally on Fashion TV early last month.
Manager of Fashion TV, Asia Gleissner, said he could feel the designer’s national pride in the collections which reflected different historical periods in Vietnam.
The first of the ensembles was Co Ba Xu Viet (Southern Vietnamese Lady), which won Nguoi Lao Dong newspaper’s annual Mai Vang (Yellow Apricots) Award as voted on by a reader’s poll.
The second was Phuong Saigon, which derives its name from Graham Greene’s heroine in his 1955 novel, The Quiet American.
The collection was also showcased at the recent “Charming Vietnam” Gala in Singapore.
One of Vo Viet Chung’s designs at the Thanh Nien’s “Charming Vietnam” Gala in Singapore.