![]() AO TU THAN |
The "ao dai" ("flowing tunic") has been the traditional dress for
Vietnamese women long, long ago. There are many different kinds
of ao dai: the four-part flowing tunic had two equal front flaps that
women tied together, while the five-part flowing tunic had an additional
small front flap that buttoned up onto the right side of the dress. |
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![]() Student Uniform
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In the Central Region, and in the South of Vietnam, "ao dai" is worn.
It is a long flowing tunic that consists of only 2 parts and is worn over
a loose-fitting pair of either white, black, or colored pants. However, the
white pants are usually preferred over the others. The dress splits into a
front and back panel from the waist down. It is also buttoned down on the
1eft side to the waist. There are many stylish variations in color and
collar design. ![]() Ao Dai with headdress |
![]() Ao Dai with Non La
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Anyone who has seen the exquisite costumes
worn by Vietnamese women will recognize similarities in the traditional dress
of the male. Men costumes are worn with the conventional snug collar and
buttoned down on the 1eft side to the waist, with no crease in front or back.
The male dress extends only to the knees and is more loose-fitting.
There are many variations on the basic theme. At the top of the list is the
elaborate dress of the emperor and the mandarins. Their rank was shown in the
display of color in the brocade and embroideries. Gold brocade with embroidered
dragons was for the emperor only. Gold is the national color and the dragon
heads the fabulous mythical animal world. Purple is the color reserved for
high-ranking court mandarins, while blue is for those of lower rank.
Costumes worn for religious ceremonies also have their special colors. Dresses
for ceremonial occasions usually have very wide and ample sleeves. Wedding
dresses are similar to the popular fashions, and the color is usually purple or
blue brocade. Dresses for mourning have frayed fringes or a line up the back
and may be either black or white in color.
(based on the writing of Van Ngan)