The Folklore of the Silk Lady: DOAN Atelier Weaves History and Future into Vietnamese Fashion
In an era witnessing an unprecedented surge in global recognition for Vietnamese creative talent, a new wave of designers is steadily carving out their niche within the international fashion landscape. Among them, DOAN Atelier stands as a testament to the power of honoring ancestral legacies while boldly stepping into the future. Their collection, "Nàng Gấm," or "Folklore of the Silk Lady," is a deeply woven narrative that celebrates the enduring beauty and strength of Vietnamese women throughout history, reimagining traditional craftsmanship through a contemporary lens and highlighting the often-overlooked regality of labor.
Jennie (Gia Linh) Doan, a distinguished graduate of Seneca Polytechnic’s Fashion Arts program, unveiled her final collection last spring. The presentation was a striking showcase of innovative and daring designs that not only pushed aesthetic boundaries but also served as a profound homage to Vietnamese heritage. This remarkable achievement garnered Jennie a nomination for the prestigious Fashion Design Student Award at the recent Canada Arts and Fashion Awards, an accolade that underscores the burgeoning talent emerging from Vietnamese designers on the global stage.
A conversation with the creative forces behind DOAN Atelier, sibling duo Jennie and Austin Doan, provided an intimate glimpse into their journey. Conducted over Zoom, the discussion delved into their shared roots, the genesis of their brand, and the rich lore that underpins the "Nàng Gấm" collection.
The Sibling Architects of DOAN Atelier
The synergy between Jennie and Austin Doan is palpable, a natural extension of their sibling bond that seamlessly translates into their collaborative artistic endeavors. Jennie, the visionary designer, meticulously articulates and constructs each garment, breathing life into her creative concepts. Austin, acting as the creative director, curates the collection’s narrative, enriching it through extensive research and sophisticated editorial direction.
Hailing from Vietnam, the siblings are products of a family deeply immersed in the arts, a lineage that spans three generations of accomplished musicians and dancers. Jennie’s early immersion in ballet and Austin’s studies in traditional music provided them with a foundational understanding of artistic discipline and expression. Their relocation to Toronto for higher education marked a pivotal moment, inspiring them to explore new artistic frontiers. Austin broadened his scope to encompass visual mediums, directing music videos, short films, and documentaries, while Jennie discovered her passion and calling in the realm of fashion design.
"We’ve always been so fascinated with fashion, and I think it makes sense because we’re both in the arts," Austin shared. "We’re both performers ourselves, and so we have that kind of connection to costume design." This shared background in performance undoubtedly influenced Jennie’s approach to fashion. Years spent observing the intricate craftsmanship and captivating aesthetics of theatrical costumes during dance rehearsals illuminated for her the profound parallels between stage attire and haute couture. In dance, where movement is paramount, costumes are engineered with a keen emphasis on structure and form. Jennie applies this same principle to her designs, believing that garments must possess a dynamic quality, designed to move and be perceived in specific ways, forming the very core of DOAN Atelier’s design philosophy.
Weaving Narratives: The Genesis of "Nàng Gấm"
Drawing inspiration from their family’s rich artistic heritage and the generational transmission of cultural practices, Jennie and Austin turned their gaze inward, seeking inspiration from the traditional Vietnamese arts and the stories that had shaped their upbringing. The collection’s evocative title, "Folklore of the Silk Lady," directly references the myths, legends, and age-old tales that resonated with them throughout their formative years. Jennie found particular inspiration in the histories of Vietnamese heroines, from the legendary Trưng sisters, who led rebellions against Chinese rule in the 1st century, to the enduring tales of resilient maidens like Tấm and Cám, often referred to as the Vietnamese Cinderella. Beyond these celebrated figures, Jennie also sought to honor the often-unsung storytellers within her own family – her grandparents and parents, whose personal narratives and life experiences served as a profound source of inspiration. Her ultimate aim was to pay homage to the women who are the custodians of folklore, those who diligently carry history forward through generations.
"I wanted to dive deeper into how women dressed in the past and what they normally wore," Jennie explained. "I was inspired by ‘áo dài’, our traditional costume, ‘áo yếm’, and ‘áo bà ba’." Her research involved an extensive exploration of Vietnamese garments, examining regional variations and tracing their evolution over time. This meticulous investigation into the historical nuances of Vietnamese womenswear formed the bedrock of the collection, with Austin leveraging his documentary filmmaking experience to guide the research process. A significant challenge, as Jennie noted, was maintaining historical accuracy while simultaneously allowing for creative interpretation and modernization.
Silk, Vietnam’s most historically significant and widely produced fabric, takes center stage as the pivotal material in "Nàng Gấm." The collection prominently features ‘gấm’ (heavy silk) and ‘lụa’ (mulberry silk), fabrics that carry deep cultural and economic significance. "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 the material and its muses is exquisitely captured in every piece within "Nàng Gấm," where traditional Vietnamese attire is reimagined with a contemporary, editorial sensibility.
The Lore and Layers of "Nàng Gấm"
At its conceptual heart, "Nàng Gấm" explores the intricate interplay of class, labor, and femininity within Vietnamese society. The collection’s striking color palette deliberately employs a duality of black and yellow. Black, historically worn by rural laborers, served a practical purpose as it was less prone to showing dirt during agricultural work, thus symbolizing the working class. Conversely, vibrant yellows were the domain of the nobility, signifying wealth, affluence, and authority. This choice of colors also highlights the historical exclusivity of silk, a luxurious fabric that was once accessible only to those of a certain social and economic standing.
The collection thoughtfully incorporates a diverse array of iconic garments and accessories representative of Vietnamese heritage, spanning various social strata, geographical regions, and ceremonial occasions. It moves from the formal elegance of the ‘áo dài’ to the more intimate silhouettes of everyday wear 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 are prime examples of this carefully curated balance, reinterpreting traditional garments with a modern aesthetic while preserving the timeless, rustic, and intimate beauty inherent in Vietnamese femininity. Notably, Look 5 gained significant international exposure when it was featured in the music video for Lady Gaga and Doechii’s song "RUNWAY." This particular ensemble, characterized by a lotus-leaf patterned skirt that flares dramatically like a blooming lotus, masterfully embeds profound cultural imagery within a high-fashion context. It artfully aligns the motif of Vietnamese femininity and resilience with the song’s overarching theme of empowerment and self-assurance.
Further enriching the collection are reimagined accessories that speak volumes about Vietnamese cultural practices and social customs. These include the ‘khăn mỏ quạ,’ a square headscarf traditionally worn by rural working women; the ‘nón ba tầm,’ a flat palm hat favored by middle to upper-class Northerners; the ‘mấn’ (or ‘khăn đội’) a ceremonial wedding headdress; and ‘kiềng,’ an heirloom silver or gold necklace.
The deliberate inclusion of attire from diverse regions across Vietnam serves to underscore the multifaceted nature of labor and how dress is intrinsically shaped by place, occupation, and daily life. "Nàng Gấm" adeptly bridges the utilitarian design of workwear with the regal silhouettes of ceremonial garb, harmoniously intertwining these distinct elements into contemporary couture compositions.
This juxtaposition is vividly illustrated in Look 1, a long robe that draws inspiration from the ‘áo tấc,’ a rain cloak fashioned from layered palm leaves, and the ‘áo long bào,’ a gold, dragon-emblazoned robe historically reserved for emperors. The intentional merging of these garments, originating from vastly different contexts, creates a powerful sartorial statement.
Look 3’s skirt silhouette is reminiscent of ‘nơm bắt cá’ (fish trapping baskets), while cascading yellow silk fringes evoke flowing grains of rice. This design powerfully symbolizes generations of agricultural labor and the sustenance it provided.
Look 4 pays homage 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 depict the movement of ‘ruộng bậc thang’ (terraced rice fields). This look, worn over a backless ‘áo yếm’-inspired dress featuring a bold leg slit and a wide-brimmed ‘nón ba tầm’ that artfully veils the eyes, exudes confidence and allure, encapsulating the quiet resilience characteristic of Vietnamese women.
From Sketch to Silhouette: The Craftsmanship of "Nàng Gấm"
Look 4 also holds the distinction of being the inaugural sketch that catalyzed the entire "Nàng Gấm" collection. It represents the very first design conceived by Jennie, with the initial sketch meticulously preserved throughout its transformation into a tangible garment. The creation of this piece proved to be a significant learning experience, with Jennie candidly acknowledging the challenges inherent in working with silk. Furthermore, the collection’s commitment to authenticity extended to its material sourcing, with Jennie prioritizing the procurement of all silks and fabrics directly from Vietnam.
The Doan siblings’ family played an integral role in the collection’s development, with their parents actively sourcing the necessary textiles from local markets and artisans in Vietnam before shipping them to Canada. This collaborative effort, supported by family, local businesses, and artisans, embodies an "it takes a village" ethos, reinforcing the collection’s unwavering dedication to Vietnamese authenticity and craftsmanship.
During their conversation with EnVi, Jennie shared a piece of test fabric she had experimented on to achieve the distinctive grooved slashes on the shoulder piece of Look 4. The signature yellow silk peeks out from beneath the black canvas, adorned with intricate lines of embroidery, each slit and threaded pattern meticulously executed by hand. Jennie also revealed that she had carefully deconstructed an ‘áo dài’ gifted by her mother, diligently studying its layers, seams, and construction to gain a deeper understanding of its assembly.
The painstaking level of detail infused into each creation truly embodies the thematic proverb of "Nàng Gấm": ‘khó nhọc, sống sau,’ which translates literally to "suffer first, ease later," a Vietnamese equivalent of "no pain, no gain." This adage, deeply ingrained in Jennie and Austin by their parents, particularly resonated with Jennie as she meticulously assembled each piece. This philosophy of discipline and care is mirrored in Jennie’s design approach. "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 throughout the collection, Jennie underscored the critical importance of manual labor in "harvesting the fruit" of her creative endeavors. Much like the fishermen, rice harvesters, weavers, and countless hardworking individuals who have sustained Vietnam, this intensive labor and meticulous care 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 invaluable contributions to preserving cultural and material traditions.
"Nàng Gấm" on the Global Stage
"Nàng Gấm" marks a significant beginning for DOAN Atelier, as Jennie and Austin endeavor to solidify their presence in the fashion industry amidst the demanding rhythms of academic pursuits, professional careers, and personal lives. The siblings are focused on deepening their understanding of the industry, forging connections with fellow creative minds, and steadily building their team.
Deeply inspired by the Vietnamese designers who have paved the way and their contemporary peers, the Doan siblings aspire to join them in occupying a prominent space on the global stage, representing a blossoming vision of Vietnamese talent.
During the development and showcase of "Nàng Gấm," Jennie and Austin observed a recurring sentiment from those impressed by the quality of the silk: "Wow, is this coming from Vietnam?" They expressed initial surprise at this reaction, noting that "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."
As one of the world’s largest exporters of textiles, Vietnam plays a monumental role in the global fashion supply chain. However, its long-standing legacy of intricate craftsmanship has remained largely underrecognized. It is only recently that the artistry of Hội An tailors has gained viral traction on social media among tourists, yet for Vietnamese people, tailoring culture has always been an integral part of daily life, with shops discreetly integrated into every neighborhood.
Reflecting on their aspirations for both Vietnamese and international audiences to glean from 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 continue to evolve their creative output, DOAN Atelier remains committed to building upon the foundational principles of "Nàng Gấm," translating heritage into modern reimagining. The brand steadfastly positions Vietnam not merely as a hub of production but as a vanguard of emerging creative talent, steeped in rich craftsmanship, cultural memory, and unwavering innovation.
At the very core of DOAN Atelier lies an enduring tribute to Vietnamese women, spanning from antiquity to the present day. Their strength, resilience, and labor continue to shape the very fabric of each meticulously crafted piece.
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