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The style was promoted by the artists of Tự Lực văn đoàn ("Self-Reliant Literary Group") as a national costume for the modern era. [20] The painter Lê Phô introduced several popular styles of ao dai beginning in 1934. Such Westernized garments temporarily disappeared during World War II (1939–45).
The áo gấm (Vietnamese: [ʔǎːw ɣə̌m], Hán-Nôm: 襖錦) is a modified áo dài made with thicker fabric, and is a traditional brocade tunic for men. [1] It is more elaborate than the formal "áo the", a similar men's tunic.
Most of ancient northern Vietnam was referred as the Lạc Việt which was considered to be part of the Baiyue region in ancient Chinese texts. [1]: 26 Prior to the Chinese conquest, the Tai nobles first came in Northern Vietnam during the Đông Sơn era, and they started to assimilate the local Mon-Khmer and Kra-dai people in a processed referred as Tai-ization or Tai-ification as the Tai ...
Under the rule of Emperor Minh Mạng, two new forms of áo dài were created from the áo ngũ thân regulated by Nguyễn Phúc Khoát: the áo tứ thân, and the Huế-style áo dài which was created with five flaps. [17] The Huế-style áo dài represented royal court culture of the Huế and later developed influenced the modern áo ...
A royal edict was issued by the Lê dynasty in 1474 forbidding Vietnamese from adopting foreign languages, hairstyles and clothing of the Lao, Champa or the "Northerners" which referred to the Ming. The edict was recorded in the 1479 Complete Chronicle of Dai Viet (Ngô Sĩ Liên). [45]
While the bottom of the yếm are v-shaped, there were different styles for the top of the garment which covered the neck, the most common two variations being the rounded neck or the v-shaped neck style. Some types of yếm have a little pocket within, where women often used to store a little musk or perfume.
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Khăn vấn is a rectangular textile that is long and quite thick, wrapped tightly around the head. According to the decrees of Nguyễn dynasty written in the Historical chronicle of Đại Nam, the Vietnamese initially remained faithful to the Champa style, but gradually adapted styles to suit needs for each social class.