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Traditional dress

Traditional Vietnamese Wedding Attire of Yesteryear: Symbols of Solemnity and Destiny

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Trang phục cô dâu chú rể truyền thống Việt Nam xưa: Biểu tượng của sự trang trọng và duyên phận

Ảnh: Không rõ tác giả, Wikimedia Commons (CC BY 4.0)

TL;DR: Traditional Vietnamese wedding attire is not just clothing but a whole system of cultural symbols. Grooms typically wore ao tac and khan dong, while brides in the North wore ao mo ba mo bay and those in the South wore ao tac doi. Every detail, from color to design, carries meanings of solemnity, ancestral respect, and wishes for a lasting marriage.

Traditional Vietnamese Wedding Attire of Yesteryear: Symbols of Solemnity and Destiny

In Vietnamese culture, a wedding is not merely an event for the couple but a significant occasion uniting two families. Consequently, the traditional wedding attire for brides and grooms was meticulously crafted, reflecting filial piety, reverence for ancestors, and aspirations for a harmonious married life.

The Groom's Attire: Symbols of Maturity and Sincerity

The groom's outfit was designed to convey maturity, propriety, and sincerity.

Ao Tac (Robe): This was the most crucial garment. Typically in solemn colors like indigo, blue, or black, the ao tac featured a standing collar, wide sleeves, and a long body extending past the knees. It was made from materials like silk or brocade, projecting an image of formality and dignity.

Khan Dong (Head Turban): A neatly wrapped turban was indispensable, completing the formal look. The wrapping technique required skill and varied by region. It was usually made of soft silk or thin fabric, matching the robe's color.

Footwear and Accessories: The groom wore simple cloth shoes or traditional slippers. A red silk sash or a small flower was sometimes pinned to the chest as a festive accent. During the procession, the groom was often sheltered by a ceremonial parasol (long), signifying respect.

The Bride's Attire: Elegance, Modesty, and Rich Meaning

The bride's traditional attire differed significantly between the North and the South.

Brides in the North and Ao Mo Ba Mo Bay: Brides typically wore the ao mo ba mo bay, a multi-layered tunic. It involved wearing three (mo ba) or five (mo nam) layers of the ao dai, depending on family wealth. The layers had harmonious colors, subtly revealed at the collar and hem, creating a graceful and modest yet noble look. Colors were often warm, rich tones like red, pink, or blue. A turban or a ceremonial hat was worn, paired with the traditional conical hat (non quai thao) for travel.

Brides in the South and Ao Tac Doi: In contrast, Southern brides favored the ao tac doi, consisting of two overlapping robes. The layers often had contrasting or complementary colors like red over blue, or pink over purple. This style was regal yet airy, suited to the climate and the more open lifestyle of the South. This attire is prominent in reenactments of old Southern weddings, where the bride appears in her ao tac to greet relatives.

Accessories and Symbols: The bride wore a turban matching her robe. A crucial accessory was a red silk sash, worn across the chest or held in hand, symbolizing luck and happiness. Traditionally, the bride might cover her face with a thin veil or remain behind a screen, revealing herself only after the ceremony, embodying the shyness and modesty of women in the past.

Symbolic Meanings and Regional Differences

Traditional wedding attire is laden with symbolism:

  • Colors: Red and pink were dominant, symbolizing luck, prosperity, and passionate love. The groom's dark blue or indigo robe represented stability. The color combination between the couple was carefully chosen for harmony and balance.
  • Modesty: The clothing was covering and modest, reflecting values of purity and virtue, and maintaining the sanctity of the ceremony.
  • Ceremonial Changes: Brides often changed outfits between ceremonies. For the ceremony at her parents' home, she might wear a red ao dai. Upon arriving at the groom's house, she would change into an ao tac for the ancestral worship ceremony, symbolizing her integration into her new family.

The Revival of Traditional Attire Today

Recently, movements to recreate traditional weddings have sparked a renewed interest among the youth. Events like the "Ket Duyen To Hong" series in Ho Chi Minh City have vividly reenacted the procession and ceremonies, with participants in ao tac and khan dong. This revival not only educates younger generations about the meaning of these rituals but also instills a sense of national pride. Many modern couples now choose traditional attire for key ceremonies or photoshoots, seeing it as a way to connect with their roots and preserve the nation's beautiful cultural heritage.

Frequently asked questions

What was the main difference between bridal attire in Northern and Southern Vietnam in the past?

Northern brides typically wore the ao mo ba mo bay, a multi-layered tunic that revealed layers of color at the collar and hem, creating a modest and noble look. In contrast, Southern brides often chose the ao tac doi, which consists of two overlapping ao tac robes with contrasting or complementary colors, creating a solemn yet more comfortable style suited to the climate and lifestyle of the South.

What is the meaning of the 'Thuong dang bai duong' ceremony in traditional weddings?

Thuong dang bai duong is a ceremony where the couple jointly offers candles (specifically long phung or phoenix candles), incense, and bows before the ancestral altar. This ritual expresses gratitude to their ancestors and forebears, while also seeking their witness and blessings for a strong, happy, and fulfilling married life.

Why was red a common color in traditional Vietnamese wedding attire?

In East Asian culture, red is the color of luck, happiness, prosperity, and wealth. For the Vietnamese, red also symbolizes passion, intense love, and vitality. Therefore, choosing red or warm tones like pink for wedding attire was a way to wish the newlyweds a fortunate, fulfilling, and joyful married life.

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References

  1. Nhân Dân - Tái hiện lễ cưới Nam Bộ xưa
  2. Đào Duy Anh, Việt Nam văn hoá sử cương (1938)

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