She has the gentle beauty of a Southerner mixed with a bit of the West. That's why I chose the double word Nam Phuong to name her." The Empress that made Emperor Bao Dai bend over rules and fall to his knees. “

Dubbed as the first Fashion Embassador of Vietnam, Empress Nam Phuong is the focus of every frame. Slender figure, delicate face, proud eyes of a robin in a lipstick cage... and most especially, perhaps, the unchanging Phi-de hair, usually in curls with fashionable high combed bangs, Instead of the favored curls by city girls. Image of Queen Nam Phuong with trendy, luxurious curly hair in a dress that floats like clouds in the sky is the center of attention. To this day, old and young Vietnamese women still look at her style as a model to be emulated. 
Her charm does not come from showing off her skin or displaying her admirable feminine figure, but instead, that charm delicate and no less elegant and noble features. The modesty in her dress is complimented by her personal style. Queen Nam Phuong's beauty is often remembered for her delicate and simple features, high nose bridge and sad eyes. People never saw traces of layers of makeup are on her glass skin, as though not wearing  any at all. In majority of frames, she never applied a bold red lipstick. She exuded a naturalness for the admirers of her beauty. 

She favors long skirts, usually midi-style 5 centimeters above the ankle, with a moderate fit and drape, like a second layer of skin on her figure, extremely feminine and skillful in following a woman's curves but reveals no traces of skin. The dresses she chooses are elegant, minimal, not too flamboyant or over-the-top but still highlight her figure and special personal style. . The white collared dress with bare sleeves must have been a fashion sensation for women in feudal times. 

She completed the look of a Queen with a long A-line dress, a scoop neck and feminine bell sleeves, combined with jewelry, a tilted bucket hat, handbag and leather shoes.
She chose a thin strap sandal with a square heel - gentle and slender, not curvy or sharp like shoes with sharp toes and heels. delicate strappy sandals that made her feet appear delicate. Or if it's a simple dress to suit an everyday setting, she wears an Oxford or Ballerina dress - which are constant symbols of Western fashion.

Perhaps the pioneer of quiet luxury.  Queen Nam Phuong's message about women's clothing is very clear: dress to show a great intellect instead of a huge fortune. With a luxurious yet modest minimalist fashion style, the Empress has two principles: One is Catholicism and the second is probably the Parisian chic style - minimalist, luxurious but humble, going deeper into lines and colors than the extravagant and ornamental goods. 

After the cornoation, Queen Nam Phuong pleased her people by becoming an exemplary Empress with attire closer to EAstern quintessence. The Queen of the South was given the grace to wear golden clothes - the color of the Emperor, and was also the only woman to wear a turban. Regarding civilian clothes, to join the family according to custom, Nam Phuong looks for braided hair and ao dai, temporarily nestling into the image of traditional women.

Having been exposed to European civilization since birth, she never forgot her Eastern roots. She fell in love with Dior and Balmain,  especially designs that compliments a woman's body, bring forth elegance of round shoulders, seductive waists and plump bosoms . But instead of putting Dior's colors on her ao dai like Madame Nhu, the Queen kept the traditional, elegant ao dai style. 

The brilliant golden color of the ao dai on Nam Phuong's figure is an affirmation that, no matter how extroverted, how civilized, or how Catholic, the standard of a Vietnamese woman is still uncompromising priority in the thinking of the Queen of the South. During her reign, the Queen's image was always associated with a discreet and elegant loose-fitting ao dai, hair wrapped in a scarf, and inevitably pearl strings. For her, ao dai and pearls are made for each other like "Dragon and Phoenix", inseparable. On her diplomatic trips, she always respects tradition and advocates bringing ao dai to guests from all over the world, like the meeting with the Pope at Vantican on July 20, 1939.

On the rare occasions she wears civilian clothes, to join the family according to custom, Nam Phuong turns to for braided hair and ao dai, temporarily nestling into the image of traditional women.

For women during the feudal regime, her white-collared dress was a fashion sensation. 

Amidst the majorly Eastern clothing worn by women during that time, the manner which Empress  Nam Phuong combines a blouse with a long skirt was an memorable imprint on people's minds. 

Just like how she delicately balances between her Eastern and Western fashion style, she was an Empress who absorbed European quintessence, but remained true to her Eastern conduct and values. 

The Empress participated in national affairs, something that was rare in 13 generations of the Nguyen dynasty. She represented the image of a great woman, a symbol of kindness and charity. during a time when she devoted most of her family's or royal family's resources to promote progress, especially for women, in the country. She focuses on developing the country's education, encouraging women to go to school and encouraging them to express themselves and participate in social work. those activities clearly show her revolutionary thinking, her deep-hearted sentiment for her people and the concern to share,  in her position as the Royal Mother of the Nation -- the Empress. after 11 years in her role, the queen left behind the respect for a beautiful, intellectual, dignified, and above all, devoted maternal figure to the people.

It is delicately fused with her Vietnamese qualities, tending for her children and devoted to her family duties. 

She has the gentle beauty of a Southerner mixed with a bit of the West. That's why I chose the double word Nam Phuong to name her." The Empress that made Emperor Bao Dai bend over rules and fall to his knees. “

Dubbed as the first Fashion Embassador of Vietnam, Empress Nam Phuong is the focus of every frame. Slender figure, delicate face, proud eyes of a robin in a lipstick cage... and most especially, perhaps, the unchanging Phi-de hair, usually in curls with fashionable high combed bangs, Instead of the favored curls by city girls. Image of Queen Nam Phuong with trendy, luxurious curly hair in a dress that floats like clouds in the sky is the center of attention.

Her charm does not come from showing off her skin or displaying her admirable feminine figure, but instead, that charm delicate and no less elegant and noble features.

Her modest dress style aligns with her  complimentary choice. Queen Nam Phuong's beauty is often remembered for her delicate and simple features, high nose bridge and sad eyes. People never saw traces of layers of makeup are on her glass skin, as though not wearing  any at all. In majority of frames, she never applied a bold red lipstick. She exuded a naturalness for the admirers of her beauty. 

She favors long skirts, usually midi-style 5 centimeters above the ankle, with a moderate fit and drape, like a second layer of skin on her figure, extremely feminine and skillful in following a woman's curves. but absolutely does not show any skin. The white collared dress with bare sleeves must have been a fashion sensation for women in feudal times. 

She completed the look of a Queen with a long A-line dress, a scoop neck and feminine bell sleeves, combined with jewelry, a tilted bucket hat, handbag and leather shoes.
She chose a thin strap sandal with a square heel - gentle and slender, not curvy or sharp like shoes with sharp toes and heels. delicate strappy sandals that made her feet appear delicate. Or if it's a simple dress to suit an everyday setting, she wears an Oxford or Ballerina dress - which are constant symbols of Western fashion.

Perhaps the pioneer of quiet luxury.  Queen Nam Phuong's message about women's clothing is very clear: dress to show a great intellect instead of a huge fortune. With a luxurious yet modest minimalist fashion style, the Empress has two principles: One is Catholicism and the second is probably the Parisian chic style - minimalist, luxurious but humble, going deeper into lines and colors than the material surface of goods. dozens of shiny and beautiful things.

Just like how she delicately balances between her Eastern and Western fashion style, she was an Empress who absorbed European quintessence, but remained true to her Eastern conduct and values. 

As a strong advocate for women's rights 

The Queen joined hands in national affairs, representing the image of a great woman, a symbol of kindness and charity. during a time when she devoted most of her family's or royal family's resources to promote progress, especially for women, in the country. She focuses on developing the country's education, encouraging women to go to school and encouraging them to express themselves and participate in social work. those activities clearly show her revolutionary thinking, her deep-hearted sentiment for her people and the concern to share,  in her position as the Royal Mother of the Nation -- the Empress. after 11 years in her role, the queen left behind the respect for a beautiful, intellectual, dignified, and above all, devoted maternal figure to the people.

It is delicately fused with her Vietnamese qualities, tending for her children and devoted to her family duties. 

If Empress Nam Phuong was ahead of her times, then the women during the Resistance eras were revolutionary.

During the Resistance Era, The meager clothing of the Vietnamese women portrayed in media reflects the political imperative during that time. To me, the choice of clothing, which are modest in both value and style, was an obligation rather than to push any rhetoric. While the party might push to paint a picture consistent with its ideologies that values are acquired only through shared struggle, however modest dress is less so defined by politics than it was by human morality.
From long ago, clothing in Vietnam has always been a symbol of class. Rich people wear silk and brocade, while poor people only use heavy fabric... kings and officials have uniforms, soldiers have velvet uniforms, and commoners have ceremonial clothes.

Such images of Ao Dai, silk to fancy clothing would have otherwise been provocative while the country is suffering. During the war, the scanty and meager clothing becomes a source of pride and confidence for the people. It communicates a modesty in self desires and aspirations as much as it does in style. Meanwhile, a shared struggle through modest clothes represents women who realized their capacities and gained the confidence that colonial rule had suppressed.

Nationalism are intertwined with the image if womanhood during the American War. Leaders of the Communist Party (CP) believed that Westernized advocates of women’s rights was only a facade, consistent with with the capitalist lifestyle, including adultery and quick divorce. So a a pathway of ‘retraditionalization’ through culture, customs and clothing could be a solution. Thus, the party's mobilization of women had some political incentives.

Despite their deep promises to free "most persecuted element in society.", in the list of ten "essential tasks of the revolution" laid down by the first conference, the issue of equal rights for women appeared ninth. Whether or not the CP’s steps to free women were genuine, they acknowledged that omen were a latent social force that if mobilized behind the revolution, could swing the forces in its favor. As the most exploited class, they have most potential to commit to revolutionary goals.

An image of womanhood emerged outside of the normal woodwork, to bring forth a hybrid model of women who are simultaneously soft yet ambitious and strong Fast forward to the Resistance movement during the American War, General Giap has stated. “the victory …against the French gave our army and people the… experience and confidence to defeat the American and bring the 30-year-long liberation war to a victorious end. Which, with the role of women, led the Resistance against the French to victory.

The image of a humble, modest woman with the same sparing, rustic fabric that a woman wears to the field, to tend for her children and at night cozying up in bed.

A gentle mother who "knows how to be happy with the common joy" and knows how to "suffer before the suffering of her comrades". The beauty of women is first of all "the beauty of the mind, the liberated spirit, the morality of being human, the beauty of creative labor". The modest value of her clothing depicts exactly that.

Ut Tich in the work "The Gun-Holding Mother" by writer Nguyen Thi is both responsible for taking care of the housework and the country. The way she shows her patriotism is very typical of a Southern woman, both witty and courageous: "When the enemy comes to your house, even the hem of your pants will fight. (giặc đến nhà, còn cái lai quần cũng đánh)"

The war mothers became Museum pieces of a national going astray from their own history. Poverty and loss is a tool for retraditionalization. The heroic mothers showcase a deepseated post-war National soul searching that linked definitions of Vietnamese femininity to the economic and cultural dilemmas post-French colonial rule.

These media voices constructed a form of female disciplining, that maps the moral health of the nation from its endangered sites to its points of decay. Like all postcolonial nations, they needed to forge an authentic path that ensures their sovereign status in the world. Modesty in women’s dress may not be the prominent message. But if it was, then it was means of moulding women to a certain form under the veil of progressive education. Newspapers painted an image of opposing female archetypes: Urban daughter-in-law and the self sacrificing peasant mother. They scrutinzed female choices, attitudes and conduct through real and fictional stories of the fate of those those putting money and interest before family and the state.Especially women who neglected their children, and wives who looked down on their husbands. Ideas were conflicting: enrich your family, but avoid excessive ambition; modernize your appearance, but remain modest; put your domestic duties first, but continue to advance your “knowledge”.

Simultaneously, the Party praised the bravery and selflessness of mothers wives and daughters. They relied the Vietnamese women qualities taking the form of national obligation. Femininity was redefined again and again by a nation caught on edge of capitalism.

I had the opportunity to watch the play “Huyen Thoai Thanh Xuan” (Legend of the Youth). In the play, The women simply wanted to be normal people, longing for love, wanting a simple life. building a home, but the war was their adversary. They bring their ordinary dreams into this war to do extraordinary things. These women, barely hitting the age of 20, were part of a Heroic squad of 10 young volunteer girls at Dong Loc intersection (Ha Tinh) who sacrificed bravely, contributing to maintaining the vital traffic route in the war against America to save the country. Their youth and her tenacious fighting spirit depicts the beautiful women(“nhung doa hoa”) on the front line of battle. A memorabilia where delicate Vietnamese flowers confront the place of killing and barbarity. During the play, one message was clear: making a life worth living, contribute to the motherland as to “not disappoint the previous generations who had sacrificed so that we can live a peaceful life today”.

Similar to the image of the Vietnam Heroic Mother’s image, these women sacrificed and suffered in silence, so that their accomplishments can have everlasting effect on the nation.

During the battle against Americans, Vietnamese women shouldered a dual burden between their roles as mothers yet also guardians to the homeland. By the 1960s, Vietnamese women were shouldering a dual burden, at home and for the fatherland. “from past to present, from the South to the North, from young to old, Vietnamese women are genuine heroes”

Yet, women in war still retain some sense of softness. They have a beauty that is both shimmering and magical, as well as profound philosophy. The special thing is that, despite the fierce war and the dangers of bombs and bombs, the girls still appear with feminine, innocent and sparkling beauty. They are like angels. The girl in Luu Trong Lu's poem has youthful strength and optimism.

During a visit in the streets of Hanoi, a poster caught my eye. The Tale of Kieu is still displayed in the capital’s most opulent opera, the Hanoi Opera House.

Upon a conversation with Ms Lien, a media staff who works at the Opera House, she remembers upon the play as “having many angles to ponder”. The story “clearly emphasizes the profound value of the law of cause and effect” as well as “retribution, tolerance and forgiveness to end the so-called "unjustified retribution". She remembers reading the story as a child, and the concrete image of Kieu as being “filial, loyal, pitiful, gentle, and beautiful”.Yet, she was also a flawed woman. “This flaw makes her human”. The story of Kieu especially showcases a society that respects women who are demure and modest, yet is also encouraging of uprooting patriarchal social norms. The story of Kieu and the War Heroic Mothers are two contradictory figures,

To assess modesty in the social aspect and the perception of sensory beauty. Women in their People’s Army uniform in the front lines or in the solid rear base with their Ao Ba Ba and wide legged pants. It is not so much about choice, but a message of unity. It showcase sacrifice of times where one temporarily puts away the opulence, one day wishing for peace on homeland so they can unravel that again.

Like Ho Chi Minh used four words to describe Vietnamese women's part in building the country: "Anh hùng, bất khuất, trung hậu, đảm đang". (Heroic, dauntless, loyal and domestically capable).

A story retold over centuries through word-of-mouth recounts the Trung sisters’ insurrection against Chinese invaders in 40 A.D. The sisters, Trung Trac and Trung Nhi, were rumored to be an invincible killer. To show her courage, She killed a tiger and wore its skin to convince others to follow her against the Chinese. The sisters called for all people to lead the insurrection and led an army of 80,000 that succeeded in driving the Chinese out of Vietnam.

“When the enemy comes, even the women have to fight”, the idea of women fighting has emerged before the Revolution. One prominent being the story retelling of Trung sisters’ insurrection against Chinese invaders in 40 A.D. They lead and trained 36 women to be generals. While it was told during a time where women were still oppressed under patriarchy, the fighting spirit continue to inspire a national identity of resistance. The Trung Sisters, even in full combat, is depicted in a predecessor of the nation’s symbolic clothing, a sister to the Vietnamese’s Ao Dai. the clothing is modest, flowy and airy, which is in stark contrast to the male clothing, which is stiff and hard. Although the Trung sisters are courageous and invincible killers, it is contrasted with the softness in their dress.

This showcases the quintessence of Vietnamese women. That they can be both robust on their own, but delicate and soft. The modesty, softness in their dress is what distinguishes them as a culture, and thus also a tool that empowers them.

In the post Doi-Moi era, streams of fashion trends has diverted away from the old times. Yet one piece of clothing stands the test of time, the Vietnamese Ao Dai.

Similar to the shapeshifting forms of the Vietnamese Ao Dai, the notion of modest dress for women is not subjugating nor entrenched, but rather innovative. The aesthetic is both a cultural and emotional field. Through talks with Vietnamese designers and artists, one would agree that it has elements of both objectivity and subjectivity. A clothing designer’s subject crystallized with his unique creations, at the same time contributing to society, to the perfection and endless beauty of humanity. For the Vietnamese, a criteria for perceiving beauty are Truthfulness - Compassion - Beauty, in its rich expression through nationality, peopleliness, classism and humanity.

The Ao Dai is the epitome of paradox. It covers the body fromalmost head-to-toe, yet exudes a flexibility, sexiness, and discreetness that no other outfit can bring. Pants are loose and high-waisted, held by an elastic belt. The tunic conceals the whole body, except the head, hands, and feet. While showing almost no skin, it brings curve to the body. While it is a statement piece, it conveys a different kind of statement: one of gracefulness and elegance.

Modesty in this sense isn’t about suppression, but rather a mystery. In a VTV documentary, designer “when a woman bikes around the streets of Sai Gon and her Ao Dai's flaps flows to the wind, that is enough to allure and hypotize a viewer, men and woman”. She comments on the aura of mystique that it exudes, “seeing her silhouette, one would wonder, what does her face look like?” and “how does her beauty compare”. With a snapshot of a woman’s back, that alone stirs up curiosity for all that sees her.

The Ao Dai is at the core of the land of mountains and river, Hue. To me, the modest nature of the Ao Dai also represents a yong woman flowering into her youth and the joy of a mother who watches her daughter grow up. In Hue, the daughter will sew her mother a beautiful ao dai to wear. the wish is that the ao dai will follow her mother to the afterlife. A daughter might dwell on herself in the mirror, feeling like she has grown up when she wears the Ao Dai. But with that, she remembers that her mother is aging day by day. Thus, this piece of costume has the symbolic weight that of independence, but still following the custom of caring for her family.

One imagines a woman in Ao Dai in her effortless, elegant pose that honors her Vietnamese qualities. That is an image that “causes yearning in the heart” and “in the memory”. Throughout shifts in times and economies, the Ao Dai is a pure and romantic representation of beauty that is untainted by war.

It has also undergone renovation and reconstruction over the time, showing that Ao Dai is not defensive but rather innovative to the changing flows of pluralism and culture. It is not at all conservative, but and changes over time to suit aesthetic trends. 

With beauties like Thẩm thuý Hằng, Kiều Trinh, Mộng Tuyền leaving their fashionable imprints for all women in past Sai gon. It goes had-in-hand with the accessories, hairstyles and of course, their poise.

One of the most pivotal movements were the Lemur Ao Dai designed by designer Cat Tuong.

In the 1930s to 1950s, it was widely popular among women nationwide. His designs Introduced a modern breeze into traditional costumes - helping women not only become more beautiful and integrate into work and roles in life. In fact, he was a pioneer in adjusting the notion of modesty. To him, clothes are used to cover the body, but "it can be like a mirror reflecting the state of a country's intellectuals". clothes need to be personalized and suitable for work. , with "the framework, with the size of each of your bodies". The body, from here, entails the need for tailoring and clothing design techniques, and at the same time, is the highlight to display female beauty. The shift from "hiding" to "showing off" the body, beautifying the body, placed in the cultural context of the 1930s, is the result of modern aesthetic thinking that women want to pursue, gradually escaping the framework of old-fashioned look of tradition
In the past, Vietnamese people with short physiques and long backs compared to their legs use high slits, long flowing dresses, or tie at the front of the waist (four-body shirt) to visually cheat their height, making them feel like their legs are long. out and create a feeling of flowiness. Centuries later, Cat Tuong style also focuses on complimenting the woman. His fashion was not a one-size-fit-all, but rather focused on proportion to the silhouette.

While women can still dress modest, they do it in style. "We should remove the collar, let the neck expand, and can be replaced with many other modern neck styles such as: turn-down collar, fringe collar, feston-shaped lace collar, heart collar...

Ao Dai remains as a picturesque ideal of what cultural modesty means. Yet, its evolution deliberately asserts that while styles may change over time, there is a timeless, unwavering modesty that attaches itself to the Vietnamese woman.

In the 1980s, this iconic national outfit carves its ways into national pageants, and remain an essential part for beauties of Vietnam to this day. If there are any role models to what beautiful fashion may be for young girls, it can be found in beauty pageants. The goal is to find These attracts young women with beauty and brains, who also honors the essence of Vietnamese womanhood.

Women are often dressed in light-colored Ao Dai that are somewhat similar and in the next rounds, they may dress in evening gowns. In the Miss Vietnam Contest 2020, the pageants changed by making the round finalists contestants dress in the national costume. The winner was crowned in a timeless Ao Dai, receiving praise from many audiences. During the earlier rounds, many pageants have conetstants dress in custom Ao Dai with more individuality with even flamboyant and contemporary designs.

Hands sewing flaps and embroidering fabric with noble velvet - Vietnamese women are still gentle and shy, light as clouds, gentle as rice, fragrant as summer lotus in the inner city lake. In the ao dai, a woman feels the pride of virtue and the awareness of preserving that virtue. To me, those are profound features of Vietnamese women. The generations of old from the court ladies, the noble ladies, and the women selling baskets to carry the sun and the dew from all corners of the country. ..everyone is modest, noble, gentle, patient, very Vietnamese.

Ao Dai can be compared to an identification card for a Vietnamese girl to go out to the world because this outfit has gathered all the beloved elements that are both modern and traditional, both concealed and open, transformative yet secretive, seductive yet Charming, both traditional and revolutionary , tolerant enough with a focus on national historical values but also receptive to absorb new fashion trends.