In an era where Vietnamese creative talent is increasingly recognized on the global stage, a new generation of designers is carving out a distinct presence in the international fashion landscape. Among them, DOAN Atelier stands out, a brand that artfully integrates the richness of Vietnamese history with a forward-looking design philosophy. Their inaugural collection, "Nàng Gấm" – translating to "Folklore of the Silk Lady" – is a profound exploration of traditional narratives, celebrating the enduring beauty and strength of Vietnamese women across generations, with a particular emphasis on the regal dignity inherent in labor.
Jennie (Gia Linh) Doan, a distinguished graduate of Seneca Polytechnic’s Fashion Arts program, unveiled this groundbreaking collection last spring. The showcase featured a series of innovative and bold designs that not only pushed aesthetic boundaries but also served as a powerful testament to Vietnamese heritage. This remarkable achievement garnered Jennie a prestigious nomination at the recent Canada Arts and Fashion Awards for the Fashion Design Student Award, a testament to her burgeoning talent and the collection’s impactful narrative.
EnVi had the exclusive opportunity to connect with the sibling duo behind DOAN Atelier, Jennie and Austin Doan, via Zoom. The conversation delved into their deeply rooted heritage, the genesis of their brand, and the intricate lore that underpins their captivating "Nàng Gấm" collection.
The Artistic Foundation of DOAN Atelier
The creative partnership between Jennie and Austin Doan is a natural extension of their lifelong bond as siblings, deeply intertwined with a shared passion for the arts. Jennie spearheads the design process, meticulously conceptualizing and constructing each garment. Austin, in his role as Creative Director, shapes the collection’s overall vision, underpinned by extensive research and evocative editorial photoshoots.
Hailing from Vietnam, the Doan siblings were immersed from birth in a family legacy rich with artistic tradition, spanning three generations of accomplished musicians and dancers. Jennie’s early life was characterized by ballet, while Austin pursued traditional music studies. Upon their relocation to Toronto for higher education, both felt a compelling drive to forge new paths within the artistic realm. Austin expanded his creative horizons to encompass visual mediums, producing music videos, short films, and documentaries, while Jennie discovered her calling in the intricate world of fashion.
"We’ve always been so fascinated with fashion, and I think it makes sense because we’re both in the arts," Austin explained. "We’re both performers ourselves, and so we have that kind of connection to costume design."
Jennie’s experiences during years of dance rehearsals, witnessing the allure of glamorous costumes and appreciating the meticulous craftsmanship behind theatrical productions, illuminated a profound connection between stage costuming and haute couture. In dance, where movement and the human form are the primary languages of expression, costumes are inherently structured to enhance and articulate these elements. Jennie applies this principle to her designs, believing that the structural integrity and intended movement of a garment are fundamental to the identity of DOAN Atelier. "Garments have to move a certain way and be seen a certain way," she articulated.
Echoes of Tradition: The Genesis of "Nàng Gấm"
Drawing from a lineage steeped in classical art forms and the generational inheritance of craft, Jennie and Austin turned their gaze towards traditional Vietnamese arts, seeking inspiration in the stories that had shaped their upbringing. The collection’s title, "Folklore of the Silk Lady," directly references the legends, myths, and tales that resonated with the siblings throughout their lives. Jennie found particular inspiration in the historical narratives of Vietnamese heroines, from the Trung sisters – formidable 1st-century military commanders who led significant rebellions against foreign rule – to the enduring resilience of maidens in fairytales like "Tấm and Cám," often referred to as the Vietnamese Cinderella. Coupled with the personal histories and life experiences shared by her grandparents and parents, Jennie aimed to pay homage to the unsung custodians of folklore: the women who tirelessly carry history forward.
"I wanted to dive deeper into how women dressed in the past and what they normally wore," Jennie stated. "I got inspired by ‘áo dài’, our traditional costume, ‘áo yếm’, and ‘áo bà ba’." Her research involved an in-depth exploration of Vietnamese garments, examining regional variations and their evolution across different eras.
Austin, leveraging his background in documentary filmmaking, played a crucial role in the extensive research that informed the collection’s exploration of Vietnamese womenswear. Jennie highlighted the significant challenge of maintaining historical accuracy while simultaneously allowing for creative interpretation.
Silk, Vietnam’s most historically significant and widely produced fabric, takes center stage as the defining element of "Nàng Gấm." The collection prominently features ‘gấm’ (heavy silk) and ‘lụa’ (mulberry silk), fabrics deeply embedded in Vietnamese cultural and economic history. "When she first pitched this idea, it very much felt like a love letter to silk," Austin remarked. "It not only felt like a love letter to the fabric itself, but to Vietnamese women." This profound reverence for both material and muse is palpable in every piece within "Nàng Gấm," which reimagines traditional Vietnamese attire through a contemporary, editorial lens.
The Lore Woven into "Nàng Gấm"
At its conceptual core, "Nàng Gấm" navigates the intricate interplay of class, labor, and femininity. The collection’s striking color palette employs a deliberate duality of black and yellow, symbolizing the working class and nobility, respectively. Black was historically favored by rural laborers, deemed practical for its dirt-resistant qualities during agricultural work. Conversely, vibrant yellows were the prerogative of the upper classes, signifying wealth, affluence, and authority. Crucially, the nobility also held the privilege of adorning themselves in silk, a luxurious fabric accessible only to those of their socio-economic standing.
The collection showcases a diverse array of iconic garments and elements drawn from Vietnamese heritage, representing various social strata, geographical regions, and ceremonial occasions. This spectrum ranges from the formal elegance of the ‘áo dài’ to more everyday silhouettes like the ‘áo yếm,’ a halterneck undergarment, and the ‘áo bà ba,’ a long-sleeved blouse and pant set traditionally associated with women in the Mekong Delta.
Looks 2 and 5 exemplify this nuanced balance, reinterpreting these garments with a modern sensibility while preserving the timeless, rustic, and intimate beauty characteristic of Vietnamese women. Notably, Look 5, featuring a skirt adorned with a lotus-leaf motif that unfurls around the wearer like a blooming lotus, was featured in the music video for Lady Gaga and Doechii’s song "RUNWAY." This ensemble masterfully integrates profound cultural symbolism into a high-fashion context, aligning the motif of Vietnamese femininity and resilience with the song’s theme of empowerment.
Complementing these iconic garments are reimagined accessories such as the ‘khăn mỏ quạ,’ a square headscarf worn by rural working women; the ‘nón ba tầm,’ a flat palm hat traditionally worn by middle to upper-class Northerners; the ‘mấn’ (or ‘khăn đội’), a ceremonial wedding headdress; and ‘kiềng,’ a silver or gold necklace often passed down as a cherished heirloom.
The deliberate inclusion of attire from various regions across Vietnam underscores the diversity of labor and how dress is intrinsically shaped by locale, occupation, and daily life. "Nàng Gấm" seamlessly blends the utilitarian design of workwear with the regal silhouettes of ceremonial garb, intertwining these seemingly disparate elements into contemporary couture compositions.
This striking contrast is vividly illustrated in Look 1. The elongated robe draws inspiration from the ‘áo tấc,’ a traditional rain cloak crafted from layered palm leaves, and the ‘áo long bào,’ a gold robe emblazoned with dragon motifs historically reserved for the Emperor. This intentional juxtaposition of garments from vastly different origins creates a powerful dialogue within the design.
The silhouette of the skirt in Look 3 echoes the form of ‘nơm bắt cá’ (fish trapping baskets), while the cascading yellow silk fringes evoke flowing grains of rice, symbolizing generations of agricultural labor and sustenance.
Look 4 pays tribute to the ethnic minority communities residing in Vietnam’s mountainous regions. Its dramatic asymmetrical shoulder piece emulates the undulating contours of rolling hills and towering peaks. Carved waves across the garment evoke the mesmerizing movement of ‘ruộng bậc thang’ (terraced rice fields). Worn over a backless ‘áo yếm’-inspired dress with a bold leg slit, and accessorized with a wide-brimmed ‘nón ba tầm’ that partially conceals the eyes, this ensemble exudes confidence and allure, capturing the quiet resilience of Vietnamese women.
From Vision to Fabric: The Creation of "Nàng Gấm"
Look 4 also holds a pivotal place in the collection as it represents the initial sketch from which "Nàng Gấm" began to take shape. This design was the first to be brought to life from Jennie’s original conception, with the initial sketch meticulously preserved throughout its execution.
The construction of the garments proved to be a significant learning curve, particularly Jennie’s experience with the delicate nature of silk. Furthermore, she was committed to using a finite supply of materials, ensuring that all silks and fabrics for the collection were sourced directly from Vietnam. The Doan family played an integral role in the collection’s development; Jennie and Austin’s parents procured the necessary textiles from local markets and artisans in Vietnam before shipping them to Canada. This collaborative effort, bolstered by the support of family, local businesses, and artisans, embodied an "it takes a village" approach, reinforcing the collection’s dedication to Vietnamese authenticity and craftsmanship.
During the interview, Jennie shared a piece of test fabric that she experimented on to achieve the distinctive grooved slashes on the shoulder piece of Look 4. The signature yellow silk peeks through beneath black canvas, adorned with intricate lines of embroidery, each slit and threaded pattern meticulously executed by hand. Jennie revealed that she had carefully dissected an ‘áo dài’ provided by her mother, studying its layers, seams, and structural intricacies to gain a deeper understanding of its construction.
The painstaking level of detail infused into each piece truly embodies the thematic proverb of "Nàng Gấm": "khó nhọc, sống sau," which translates literally to "suffer first, ease later," akin to the English idiom "no pain, no gain." This maxim, deeply ingrained in Jennie and Austin by their parents, resonated profoundly with Jennie throughout the arduous process of assembling each garment.
This philosophy of discipline and meticulous care is mirrored in Jennie’s approach to design. "As a designer, I feel like everything we do, we have to have the intention behind it," she stated. "I don’t want to put something in without any meaning – even down to the smallest detail like a button or a seam."
Embracing agricultural motifs within the collection, Jennie emphasized the crucial role of hand labor in "harvesting the fruit" of her work. Much like the fishermen, rice harvesters, weavers, and countless hardworking Vietnamese individuals, this intensive labor and dedication are essential for preserving delicate beauty. Through the creation of this collection, Jennie cultivated a profound appreciation for the labor of Vietnamese women throughout history and their vital contributions to preserving cultural and material traditions.
"Nàng Gấm" on the Global Stage
This inaugural collection marks a significant beginning for DOAN Atelier. Jennie and Austin are now focused on solidifying their presence within the fashion industry, navigating the demanding rhythms of academic pursuits, professional careers, and personal lives. The siblings are actively seeking opportunities to deepen their understanding of the industry, foster connections with fellow creatives, and strategically build their team.
Deeply inspired by the Vietnamese designers who paved the way and their contemporaries in the fashion world, the siblings aspire to join them in occupying prominent spaces on the global stage, representing a burgeoning vision of Vietnamese talent.
During the development and showcase of "Nàng Gấm," Jennie and Austin observed a recurring theme in the reactions they received: admiration for the quality of the silk, often accompanied by the surprised remark, "Wow, is this coming from Vietnam?" Initially taken aback by this sentiment, they recognized the underlying disconnect. "This is something we could easily have access to; literally, if you go to Bến Thành Market, this silk is so abundant, but it is something so unknown to people elsewhere," Jennie commented.
As one of the world’s leading textile exporters, Vietnam plays a monumental role in the global fashion supply chain. However, its extensive legacy of craftsmanship has historically remained underrecognized. While Vietnamese tailors have recently gained viral fame on social media among tourists, the culture of tailoring has long been an integral part of daily life for Vietnamese people, with shops discreetly situated in every neighborhood.
Reflecting on their aspirations for both Vietnamese and international audiences to engage with their future work, Austin shared with EnVi, "It’s not just about promoting Vietnamese fabrics and products, but also for them to know that, ‘Hey, we’re Vietnamese, and we can do this.’ This is something from our country, and this is something we can do."
As Jennie and Austin Doan embark on their future creative endeavors, DOAN Atelier continues to build upon the foundational principles of "Nàng Gấm," skillfully translating heritage into modern reinterpretations. The brand remains steadfast in its commitment to positioning Vietnam not merely as a hub of production but as a forefront of emerging creative talent, imbued with rich craftsmanship, cultural memory, and innovation.
At the very heart of DOAN Atelier lies an enduring tribute to Vietnamese women, spanning from the past to the present. Their strength, resilience, and unwavering labor continue to shape the very fabric of each meticulously crafted piece.