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Designer Le Si Hoang is a celebrity in Vietnam and his shop in Ho Chi Minh City is the place to visit for those who admire the dress. [25] In Hanoi, tourists get fitted with áo dài on Luong Van Can Street. [29] The elegant city of Huế in the central region is known for its áo dài, nón lá (lit. ' traditional leaf hat '), and well-dressed ...
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 ...
In recent years, male celebrities have left the traditional tuxedos at home and opted for bolder looks on fashion's biggest night. In recent years, male celebrities have left the traditional ...
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 ...
Áo bà ba (Vietnamese: [ʔǎːw ɓâː ɓaː], translates to "Grandma's shirt") is a traditional southern Vietnamese garment. The top part that covers the torso is called the áo ("shirt" in English). It is mostly associated with rural southern Vietnam, especially in the Mekong Delta. Often worn as a top and bottom set, the áo bà ba is ...
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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.