♦ Dr. Nguyen Thi Thanh Hoa

thuongThe attire of Hanoians embodies elegance and sophistication, from the “áo dài năm thân” (five-panel tunic), “áo the” (long silk gauze tunic), and “quần lĩnh” ( satin trousers) worn by men, to the “áo tứ thân” (four-panel dress), “áo dài” (the traditional Vietnamese long dress, consisting of a fitted tunic worn over trousers), and “yếm đào” (a traditional Vietnamese undergarment for women, typically worn under “áo dài” or with “áo tứ thân”) traditionally worn by women. These garments, often made from silk and satin, are complemented by accessories such as “khăn vấn” (coiled turbans) and “thắt lưng bao xanh” (green silk belts), conveying modesty, gracefulness, and sophistication, while reflecting deep cultural values. Attire has never been merely a matter of appearance; rather, it expresses personal character, respect for the community, and the distinct identity of the capital’s people across eras, from simplicity to sophistication, yet consistently preserving an elegant demeanor.

 Attire during the Hùng King period

thuongAs early as the Hung King period, the people of Hanoi demonstrated a sense of style, as evidenced by decorations on the Co Loa bronze drum (a ceremonial instrument of the Đong Son culture). During festivals, people wore headdresses adorned with feathers and clothing made from feathers; men wore loincloths, while women wore fitted blouses accentuating slender waists, and long skirts with patterns reaching the heels. Accessories included belts at the waist, tall headdresses, and bands tied across the forehead. In everyday life, men often went bare-chested with loincloths and bore tattoos of giao long (mythical aquatic dragon) and other symbolic patterns. Women wore short blouses reaching the abdomen, open at the chest, and fitted closely to the body, with a round-necked yếm decorated with grain-like patterns. Additional garments included short-sleeved blouses with square collars, either exposing part of the shoulder and chest or covering the chest while revealing the back; pullover blouses or those buttoned on the left side, decorated with patterns; and tightly fitted skirts with dotted or parallel diagonal lines. Common colors included yellow, black, brownish red, light gray, and pale yellow. Accessories such as stone and bronze bracelets and anklets completed the ensemble.

Attire during the feudal period

thuongDuring the feudal era, which was closely associated with the royal court system, clothing varied significantly by social status. The King wore a long cổn (dragon robe), and a mũ tam sơn (a three-peaked ceremonial headdress), with an áo hoàng bào (yellow imperial robe) and a jade belt, while the Lord wore an áo bào tía (purple robe) and a mũ xung thiên (upright-wing court hat) with a jade belt; the Crown Prince wore a blue robe and a mũ dương đường (Crown Prince’s ceremonial cap); the Lord’s heir wore a red robe and a gold-inlaid mũ cánh chuồn (butterfly-winged hat). Mandarins wore bổ tử (mandarin squares), which were square fabric patches embroidered with symbolic animals/birds, attached to the chest and back of their official robes. Scholars and commoners wore áo thâm (dark-colored tunics) for important family events; in rural areas, people wore eggshell-colored cotton clothing.

 Attire during the early modern period

thuongHanoians always paid particular attention to the materials used in their attire, mostly using the (plain silk) woven from mulberry fibers and dyed in dark tones. Women’s trousers were often made from lĩnh silk produced in Bưởi village, known for its fine texture and glossy surface, while men’s trousers were commonly tailored from white silk produced in Co Do village. Other high-quality fabrics, including lụa (soft silk), là (crisp silk), sồi (silk noil), đũi (tussah silk), and nhiễu (crepe), were supplied by craft villages in Hanoi or neighboring provinces. Urban dwellers in trading streets involved in selling clothing preferred subdued colors such as dark brown, white, and earth tones. Some guild quarters specialized in fabric dyeing, such as Đồng Lầm ward (brown dyes) and Hang Đao ward (crimson and peach hues).

Archival photograph(Magazine nguoiHaNoi.vn)

thuongFrom the late 18th to early 19th centuries, Hanoian attire saw great changes in materials and styles. In addition to common materials like the, lĩnh, lượt, and là, new materials appeared, such as lụa, sa (gauze), xuyến (a type of thin patterned silk), băng (thin, shiny patterned fabric), đoạn (brocade), gấm (heavy brocade), and vóc (stiff satin, for royalty, nobles, and high-ranking officials). Women typically wore áo tứ thân, while men favored long, cross-collared tunic.

“Scholars and intellectuals of Hà Thành (Hanoi). (Archival photo courtesy of Tuoi Tre Online newspaper.)

thuongColor usage reflected strict social distinctions: yellow was reserved exclusively for the King and statues of deities and Buddhas; red was associated with high-ranking mandarins, nobles, and generals (or for longevity ceremonies for parents in affluent commoner families). Laborers predominantly wore brown-dyed cotton clothing, while more well-off families used brown-dyed silk or tussah. The elderly preferred colors like tiết dê and tam giang (deep, subtle hues blending blue, gray, purple, and yellow, reminiscent of the Tam Giang lagoon scenery in Hue). Country girls favored the vibrant hoa hiên (a bright yellow-orange). In the past, peach tones were often considered frivolous and improper, typically associated with performers (dancers, singers). Accessories such as footwear, hats, nón (conical hats), umbrellas, and jewelry like rings, bracelets, and necklaces made of gold and silver enhanced one’s appearance.

 Attire of Hanoians in the modern era

thuongIn the modern era, winter attire in Hanoi was accentuated by a variety of headscarves or neck scarves, such as those made of crepe, velvet, or san (thin silk). Men traditionally wore khăn đầu rìu (folded scarves) and khăn xếp (turbans). Besides shoes, Hanoians also wore bamboo or wooden clogs, horizontal-strap sandals, and curved-leaf-shaped sandals.

thuongOngoing cultural exchange and acculturation have led to changes in Hanoian attire. In the early 20th century, alongside national formal wear such as the áo dài for women and Western-style suits for men, Hanoians introduced innovative designs. However, the traditional áo dài has remained the most iconic symbol of Vietnamese and Hanoian identity. Its evolution is a quintessential example of Thăng Long people’s creativity: from the “áo tứ thân” (four-panel dress) of the 17th century, combined with áo giao lĩnh (the cross-collared robe) in the 18th century, to the formation of “áo dài ngũ thân” (five-panel dress) during the Nguyen dynasty. This design laid the foundation for “Lemur” áo dài (named after the French name of painter Cat Tuong, who created the two-panel, body-hugging áo dài around 1939). In the 1950s, painter Le Pho refined the design, enhancing its elegance and sensuality. By the 1960s, the Raglan áo dài, developed by Dung tailor shop based in Dakao, Saigon, perfected and defined the áo dài style thereafter: a closer fit, raglan sleeves set at a 45-degree angle from the collar for greater comfort and flexibility, and the two flaps connected by a side button line. To this day, the traditional áo dài remains a source of pride, embodying the grace and elegance of Hanoi’s women during major festivals. Alongside Saigon, Hanoi has become one of the two major fashion design and performance centers in the country.

thuongIn the first half of the 20th century, Hanoi was home to famous textile streets such as Hang Đao, Hang Ngang, Hang Vai, while tailoring concentrated in Hàng Trong, Hang Gai. Footwear, hats, and accessories were sold in streets such as Hang Giay, Hang Hai, and Hang Non, while Hang Bong, Hang Chi, and Tho Nhuom supplied raw materials for sewing and dyeing. Previously, fabric markets on Hang Đao Street attracted many traders from La Khe, La Ca, selling the (silk gauze), lụa (soft silk), lượt (thin glossy silk), and là (crisp silk); sellers from Mỗ Village selling silk; from Buoi Village selling lĩnh (satin). Traditional accessories such as nón lá (conical hats) from Chuong village and quai thao (decorative hat straps) from Trieu Khuc were celebrated in folk verse:

Hà Nội thì tết quai tua,

Có hai con bướm đậu vừa xung quanh. 

In Hanoi, tasseled hats mark the festive days,

Two butterflies gently alight on either side.

thuongHat styles also indicated age and social status: Tam Giang palm-leaf hat (a traditional Vietnamese conical hat associated with the Tam Giang Lagoon region) for elderly men, lotus-leaf hats for children, and fine-leaf hats for the wealthy. Over time, Western hats such as pith helmets (a lightweight helmet made from cork or similar material, traditionally used in tropical climates), baseball caps, fedoras, and berets were introduced, further diversifying Hanoian fashion.

thuongIn summary, the attire of Hanoians reflects a distinctive cultural style shaped by the historical context and social values of this thousand-year-old civilized land. While clothing has evolved significantly over time, it consistently conveys elegance, refinement, and aesthetic harmony in color, form, and accessories. This enduring sensibility illustrates a deep awareness of cultural preservation alongside openness to intercultural exchange in the attire of Hanoians.

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References

1.  Đoan, T. T. (2010), Trang phuc Thang Long – Hà Nội (Thang Long - Hanoi Attire), Hanoi Publishing House.

2. Electronic Magazine, The History of the Development of the Vietnamese ao Dai through Different Periods, published on August 18, 2020, on hoilhpn.org.vn.

3. Cultural Characteristics in the Traditional Attire of Hanoians, published on Vietnamnet.vn.