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Áo dài looks similar to the cheongsam as they both consist of a long robe with side splits on both sides of the robe with one of the main difference typically being the height of the side split. [58] Áo dài is also similar to the shalwar kameez and the kurta of countries following Indo-Islamic culture such as India, Pakistan, etc. [59]
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.
The áo giao lĩnh was influenced from Han Chinese clothing. [1] It is a robe with a wrap collar closing on the right side. The wrap collar closing on the right side is known as jiaoling youren (Chinese: 交領右衽; lit. 'intersecting collar right lapel') in China; garments with this form of wrap collar originated in China and started to be worn at least since the Shang dynasty (c. 1600 BC ...
It is the garment of the countryside, of the working people, of the lower class and the common people. As with denim jeans in the West, the áo bà ba's no-frills design worn by the simple folk outlasted many other trends and is considered a classic. The áo bà ba is regarded as the two-piece ensemble upon which the popularised áo dài is ...
The áo dài was created when tucks, which were close fitting and compact, were added in the 1920s to this style. [13] Trousers and tunics based on the Chinese pattern in 1774 were ordered by Nguyễn Phúc Khoát to replace the sarong -like traditional clothing.
[10] Pants were mandated by the Nguyen in 1744 and the Cheongsam Chinese clothing inspired the áo dài. [11] The current áo dài was introduced by the Nguyễn lords. [12] [dead link ] Cham provinces were seized by the Nguyễn lords. [13] Provinces and districts originally belonging to Cambodia were taken by Võ Vương. [14] [15]
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.
Trịnh Công Sơn (February 28, 1939 – April 1, 2001) was a Vietnamese musician, songwriter, painter and poet. [1] [2] He is widely considered to be Vietnam's best songwriter.