For an exotic look, ethnic fashion is a great choice for large women. For example, Vietnam [pronounced "ow zai" in northern Vietnam and "ow yai" in southern Vietnam], Vietnam's national costumes, the style of almost anyone looks great. It consists of two elements: a long coat with a fitted body, a collar, raglan sleeves and side slits, creating front and rear panels from the waist down; and wide-leg pants that tend to reduce prejudice.
Although in the distant past, both men and women wore ao dai, in the 21st century, it was almost entirely feminine clothing. Although ao dai is now regarded as a symbol of traditional Vietnamese identity and femininity, it has a reliable short history and its sign is foreign influence. Ao dai provides a striking example of how Vietnamese respond to the colonization of China and France by adopting elements of foreign culture and modifying them into full Vietnamese. Before the fifteenth century, Vietnamese women usually wore skirts and halter tops. These are sometimes covered by an open robes [ao aby], with four long panels and the front two tied to the belt. Women's clothing is brown or black, with a bright top or belt for special occasions.
From 1407 to 1428, China's Ming Dynasty hired Vietnam to force women to wear Chinese pants. After regaining independence, the Vietnamese dynasty [1428-1788] also criticized women's clothes for violating Confucian etiquette standards. Because the policy is free to perform, skirts and halter tops are still the norm.
During the seventeenth and eighteenth centuries, Vietnam was divided into two regions, and the Yu family ruled the south. In order to distinguish between their subjects and the northerners, Lord Nguyen ordered southern men and women to wear Chinese trousers and long front robes. After the Nguyen family took control of the country in 1802, the conservative Confucian Minh modified the women's skirt on the basis of aesthetics and morality.
In the next century, the pioneers of modern ao dai became popular in the city, the Hue Royal Court and the holiday and festivals of the country. The dress consists essentially of trousers and a loose shirt. The neckline of the shirt and the right side of the shirt from the neck to the underarm are closed diagonally, with some regional variations. These characteristics of ao dao are copied from Chinese and Manchu costumes. The upper class often layers several different colors of ao dai, and the neck remains open to reveal the layers. However, among farmers and employers, skirts [va] and halter tops [yem] are still very popular with everyday wear.
In the 1930s, Hanoi artist Nguyen Cat Tuong, also known as Lemur, showed the ao dai style inspired by French fashion. He designed a light-coloured, close-fitting color scheme with a long panel, fluffy sleeves, an asymmetrical lace collar, buttoned cuffs, a fan-shaped hem, and darts at the waist and chest. Lemur's European flared pants are white and the hips are tailored. Criticized by conservatives, Lemur's design marks the fusion of contemporary ao dai, blending traditional Vietnamese elements with Western tailoring and body aesthetics.
French colonialism ended in 1954 and Vietnam was divided into the north and the south. In northern Vietnam, Communist leaders criticized ao dai as a bourgeoisie, colony and unrealistic physical labor, although women continue to wear it on special occasions.
When ao dai is unpopular in socialist Vietnam, Vietnamese immigrants to the United States, Canada, Australia or France see it as a symbol of their national heritage. Ao Dai participated in the fashion show, Tet [Lunar New Year] celebrations, weddings and music performances in the world Vietnamese community, which was about 2.6 million in 2006.
At the same time, in the capitalist South Vietnam, the modification of clothing continues. Mrs. Nhu, the nephew of President Ngo Dinh Diem, was not realized in the 1950s and 1960s because her ao dai's neckline was very low.
In 1975, the Vietnam War ended with the North-South reunification under the Communist Party. The leaders ridiculed the decadence of the Yi people in the South and advocated a simpler and more practical style of clothing. However, what Obama has provided is short-lived. In the 1990s, economic reforms and improved living standards led to the revitalization of ao dai within Vietnam and made the international community increasingly aware that it was a symbol of Vietnamese identity. In 1989, the women's newspaper in Ho Chi Minh City [formerly Saigon] hosted the first Miss Ao Dai competition. Six years later, Miss Vietnam's blue damask ao dai won the Best National Costume Award in the Miss Tokyo International Beauty Contest. The simple white ao dai has been restored to the uniform of female high school students in many towns, while the flight participants of Vietnam Airlines wear red ao dai.
Ao dai also inspired the inspiration of non-Asian designers. Following the 1992 film "Indochina" and "lover", both films began during the French colonial period, and Ralph Lauren, Richard Taylor, Claude Montana and Giorgio Armani all showed Inspired by the series. Although "Indo-Chic" fashion may be an orientalist in celebrating the demure and exotic Vietnamese femininity, they are often welcomed in Vietnam as evidence that ao dai has entered international fashion classics.
Some current designers use novel fabrics, abstract patterns and ethnic motifs, while others change the outerwear by opening the neckline, removing the sleeves or replacing the long panels with edges. Once ugly white pants now look obsolete, women prefer the same color as pants and tops.
So ao dia has an interesting history. But with the choice of materials and tailoring, ao dai makes this fashionable plus size lady both stylish and beautiful during the year and special occasions.
Orignal From: Ao Dai - Vietnam Fashion Declaration
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