Get in the rhythm of modern fashion with 7 classic movies about old vietnam

At that time, the petty bourgeoisie under the light of rich Western Europe, loved to dress up, so they often bought themselves expensive ao dai made from natural fibers such as silk... that's why designer Nguyen Thi Thu Ha has worked diligently to make sure to "treat" viewers with a non-repetitive, yet historically accurate, party of color. Women in the film often put on an extra layer of robes to make accents in harmony with the color of the outfit, like Ms. Tuyet with a "thin shirt" from chiffon and eye-catching textures.

Back in Indochina in the 20th century, the Westernization wave crept everywhere, from cinema, architecture, music, and even fashion. The following masterpiece films, which once dominated the Vietnamese screen and international box office, will bring fans to relive the memories of classic trends.

Get in the rhythm of modern fashion with 7 classic movies about old Vietnam

Cinema is a late-born mass culture in Vietnam, with rapid development since the Doi Moi period in 1986. At that time, Vietnamese cinema exploited the themes of wartime and post-war, especially the artistic influence of the French colonial period, and was enriched by foreign filmmakers interested in the context of the Indochinese peninsula in turbulent times. The home screen is ready to learn and welcomes films with cultural harmony from domestic and foreign directors. Film fashion is also full of the vanity breath of the cities of the twentieth century to the beginning of the twenty-first century.

In the context of a simple river in Sa Dec, Lover exploits the secret love between a Chinese man (Luong Gia Huy) and a French girl at the age of a full moon (Jane March). No need for too many lavish outfits, all the charming, innocent, and sexy beauty of a teenage girl escapes hidden under the movie’s iconic slip dress. Combined with a casual belt and a man’s felt hat, this is the autobiography of a young girl who is secretly rebellious. Actress Jane March has since been dubbed the “villain from Pinner” with eyes and movements that steal the viewer’s soul, and Yvonne Sassinot de Nesle also received a nomination for Best Costume Design. at the 18th César Awards.

Indochine will immerse you in the nostalgic vortex of Vietnamese and French fashion at the beginning of the last century. Revolving around the story of a French woman and her adopted Vietnamese daughter, every time the film “touches” the character’s Western roots, viewers will admire the extremely luxurious and fashionable fashion imprints. the charm of the capital Paris. From the satin party dress to the high-waisted trousers when Éliane visited the plantation, French fashion is reproduced with precision and finesse.

With the main setting in the ancient capital of Hue, the costumes of the film cannot be without Vietnamese antiques. Gabriella Pescucci – designer of Indochine has honored the five-body dress – a fashion invention born under Lord Nguyen. The Indochinese version of the five-piece dress appears in neatly embroidered floral patterns and historically accurate harmony, demonstrating the film crew’s investment in learning about the Vietnamese costume culture.

To depict the silent dedication of women in the family, the smell of green papaya brings a gentle and peaceful beauty. Because it is inspired by the childhood memories of director Tran Anh Hung, from film color to fashion, everything is very rustic and close. The clothes of the working class “save” in textures and colors, and even for the richer class, like the Mui at the end of the movie or Khuyen’s ex-fiancée, they only wear silk dresses with textures. very discreet flowers. The “quiet” beauty of the film is further enhanced by the selection of very charming costumes, which are suitable and strangely memorable, such as the piano sound of the artist Khuyen for Mui.

Hanoians are beautiful footage of the post-war soldier’s life in the magnificent capital, and also distilled the quintessence of everyday fashion in the late 80s – early 90s. In particular, The beauty of many “colors” of women is also clearly depicted. Ms. Loan is a “connoisseur” in fashion like a believer with casual pants, a lotus-neck shirt, and very “Western” motifs, while Lam’s wife – a working woman is simply in the beauty of working from a shirt. brown buttoned-up and head scarf.

The quiet American brings viewers into a world of silk from the 50s ao dai. In the bustling city center in the heart of Saigon, Ms. Phuong and other Vietnamese women always appear in traditional costumes. decorated with floral motifs of various sizes. Comparing the 1958 version played by the American actor with the 2002 version, the beauty of the new Ao Dai really “blooms” when it is accompanied by pure and elegant Vietnamese beauty.

The film, shot by director Bui Thac Chuyen, is full of thoughts and emotional scenes that are stuck with no way out, that’s why the characters’ costumes become the “screaming” place of quiet colors. Soft, loose fabric background. In the dark, ghostly lights of Play with, the layers of passionate women’s costumes light up the very personal feelings of troubled women. The mix selection is also associated with the character’s personalities, when Duyen – a beautiful, innocent young girl with many romantic desires often wears floating dresses, while the experienced writer Cam has a style. more mature way.

Life is a Vietnamese film adapted from Vu Trong Phung’s three works, Red Number, Teacher’s Rice, and Industry for the West, so the whole film seems to be covered by the Westernization movement. Flashy Western elements “creep” into upper-class outfits, with midi dresses, lotus-neck blouses, or stylized tunics, and accessories are mini bags with small handles.

At that time, the petty bourgeoisie under the light of rich Western Europe, loved to dress up, so they often bought themselves expensive ao dai made from natural fibers such as silk… that’s why designer Nguyen Thi Thu Ha has worked diligently to make sure to “treat” viewers with a non-repetitive, yet historically accurate, the party of color. Women in the film often put on an extra layer of robes to make accents in harmony with the color of the outfit, like Ms. Tuyet with a “thin shirt” from chiffon and eye-catching textures.

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