Designs on Vietnam

On our University of Queensland Field trip in Vietnam, my two favourite museums exhibits are women's garments. The first one is in the Vietnam National Museum of Ethnology and the second in the Vietnamese Women's Museum, both in Hanoi.

The Ethnographic Museum is in a new building, a cutting edge piece of architectural design in itself.  Shaped like a giant kite, the section devoted to the Vietnamese minorities is a treasure trove of silk, lace, brocade, linen, velvet and gold and silver thread.  Pearls, painstakingly stitched onto the background, glow and sequins sparkle.  

The collection covers the 58 minorities in Vietnam, with a great deal of space given over to traditional dress or costume and adornments.  We call it fashion. Case after case of beautifully displayed garments demonstrate how clothing defines us.  It is an elaborate set of guidelines  based on hierarchy and occasion.  As an article in the Vietnam Airlines inflight magazine quotes, "each clothing item worn by an emperor, prince or Mandarin is a carefully chosen work of art", and that's just the royalty of one dynasty, the Nguyen Dynasty who ruled from 1802-1945.  Sadly the article does not mention the repository of riches in the museum.  Someone in the museum needs to be communicating clear messages to all media, let alone the government airline.  

The Vietnamese Women's Museum also has an extensive collection of women's traditional clothing on their third floor.  This covers a timeline of the evolving Ao Dai, the tunic and pants, from the early period to modern day designs.  This museum has an excellent reputation as the only women's museum in the World, and has high visitation statistics.

But that's where it all seems to run out of puff in the museums.  There is no exploration of modern designs by the talented young Vietnamese or 'blockbusters' with big names in the fashion world that attract visitors like bees to honey.  

Vietnam has a talented pool of young designers that could be showcased in museums and build that industry, attract tourists, and create collaborations with the European fashion houses.  

For example, Vietnam's first International Fashion Week in 2014 was a partnership with the Italian fashion industry.  It featured Vietnam's Project Runway winner Ly Gien Tien.  His collection was inspired by the children's mosaic wall in Hanoi, the world's longest according to the Guiness Book of Records.

The French fashion industry collaborated with Vietnam on the  Chambord Castle project.  Here young Vietnamese designers were sent to a medieval castle in the Loire Valley to be inspired by the idea of 'Gothic'.  They returned and created a dazzling collection using only Vietnamese fabrics.

Given that the French and Italians are the world style leaders, it's looking good for Vietnamese talent in this community.  But, they do need the exposure, publicity and credibility that a museum exhibition can deliver. The talent, linked to their past in technique and fabrication is clearly there as the national airline devotes a whole magazine to it each month.

Museums in Europe, the USA and Australia have all enjoyed the fruits of blockbuster fashion shows. The V&A's Italian Post War fashion and bridal show, the Kensington Palace's royal gowns, the Japanese at the Queensland Museum, Hollywood at the Museum of Brisbane, Galliano in Melbourne, and all attracting large numbers of visitations, including many people who don't seem to normally go to museums.  

The creative  public programs supporting these shows add more value, and I haven't even started on the retail and sponsorship opportunities.  Let's face it,  since our first ancestors wrapped herself in a fur, women love to look at a good frock.

(The airline devotes a whole magazine to the industry every month) 

Jayne Keogh