By Nila Kartika Wati 
In an era marked by a burgeoning global recognition of Vietnamese creative talent, a new generation of designers is carving out a significant presence in the international fashion landscape. Among them, DOAN Atelier stands out, its design philosophy intrinsically woven with a deep respect for history and a forward-looking vision. Their latest collection, titled Nàng Gấm or Folklore of the Silk Lady, is a testament to this ethos. Inspired by traditions passed down through generations, the collection pays homage to the enduring beauty and strength of Vietnamese women throughout history, reimagining their legacy through a lens of regal labor and contemporary artistry.
Jennie (Gia Linh) Doan, a graduate of Seneca Polytechnic’s Fashion Arts program, unveiled her seminal graduate collection last spring. The collection was characterized by its innovative and bold designs, which artfully preserved Vietnamese tradition. This remarkable showcase earned Jennie a prestigious nomination at the recent Canada Arts and Fashion Awards for the Fashion Design Student Award, underscoring her burgeoning talent and the collection’s impactful narrative.
EnVi recently connected with the creative forces behind DOAN Atelier, sibling duo Jennie and Austin Doan, via Zoom. During their conversation, they delved into their personal histories, the genesis of their brand, and the rich lore that underpins Nàng Gấm.
The Siblings Behind DOAN Atelier: A Symphony of Art and Design
The collaborative dynamic between Jennie and Austin Doan is a natural extension of their familial bond and shared artistic heritage. Jennie, the visionary designer, meticulously articulates and constructs each garment, bringing her creative concepts to life. Austin, serving as the creative director, shapes the overarching narrative and aesthetic of the collection, drawing from extensive research and orchestrating impactful editorial photoshoots.
Hailing from Vietnam, the siblings were immersed in a family deeply rooted in the arts, with a lineage spanning three generations of musicians and dancers. Jennie’s early life was marked by ballet training, while Austin pursued studies in traditional music. Upon relocating to Toronto for their higher education, they found themselves drawn to exploring new artistic avenues. Austin broadened his scope to encompass visual mediums, producing music videos, short films, and documentaries, while Jennie discovered her calling in the 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 shared. "We’re both performers ourselves, and so we have that kind of connection to costume design."
Jennie’s extensive experience with dance rehearsals, witnessing the glamour of stage costumes, and appreciating the intricate craftsmanship behind theatrical productions, revealed a profound connection between performance costuming and haute couture. In dance, where movement and the human form serve as primary modes of expression, costume structure plays a pivotal role. Jennie applies this principle to her designs, believing it to be the foundational element of DOAN Atelier. "Garments have to move a certain way and be seen a certain way," she explained.
Unearthing the Lore: Nàng Gấm and the Silk Lady
Drawing from a rich family history steeped in classical art forms and the generational inheritance of craft, Jennie and Austin turned their attention to traditional Vietnamese arts, beginning with the stories that formed the bedrock of their childhood. The collection’s title, Folklore of the Silk Lady, directly references the legends, myths, and tales that the siblings grew up hearing. Jennie found particular inspiration in the histories of Vietnamese heroines, from the formidable Trưng sisters, 1st-century military commanders who led significant rebellions against Chinese rule, to resilient maiden figures in fairytales like the Vietnamese Cinderella, Tấm and Cám. Alongside personal anecdotes shared by her grandparents and parents about their past and upbringing, Jennie sought to honor the custodians of folklore: the women who carry history forward.
"I wanted to dive deeper into how women dressed in the past and what they normally wore," Jennie stated. "I was inspired by áo dài, our traditional costume, áo yếm, and áo bà ba." Her research delved into the nuances of Vietnamese garments, exploring regional variations and their evolution throughout history.
Austin, leveraging his background in documentary filmmaking, led the extensive research into the historical evolution of Vietnamese womenswear. A key challenge, Jennie noted, was maintaining historical accuracy while allowing for creative reinterpretation.
Silk, Vietnam’s most significant traditional fabric, takes center stage as the defining material in Nàng Gấm, with a particular focus on gấm (heavy silk) and lụa (mulberry silk). "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 of Nàng Gấm, which reinterprets traditional Vietnamese attire through a contemporary, editorial sensibility.
The Dichotomy of Labor and Luxury: Color and Form in Nàng Gấm
At its core, Nàng Gấm explores the intricate interplay of class, labor, and femininity. The collection’s striking color palette embraces a duality of black and yellow, symbolizing the working class and nobility, respectively. Historically, black was the predominant color for rural laborers, chosen for its practicality in masking dirt during agricultural work. Conversely, the upper classes adorned themselves in vibrant yellows, a hue signifying wealth, affluence, and authority. This distinction was further amplified by the privilege of wearing silk, a luxurious fabric accessible only to those of a particular social and economic standing.
The collection showcases a diverse array of iconic garments and accessories from Vietnamese heritage, spanning various social classes, regions, and occasions. It moves from the formal elegance of the áo dài to the more everyday silhouettes like the áo yếm, a halterneck undergarment, and the áo bà ba, a long-sleeved blouse and pant set associated with women in the rural Mekong Delta.
Looks 2 and 5 exemplify this thoughtful balance, reinterpreting these garments with a modern aesthetic while preserving the timeless, rustic, and intimate beauty characteristic of Vietnamese women. Notably, Look 5 was featured in the music video for Lady Gaga and Doechii’s song "RUNWAY." This ensemble, featuring a skirt with a lotus-leaf pattern that flares outward like a blooming lotus, seamlessly integrates profound cultural imagery into a high-fashion context. The motif of Vietnamese femininity and resilience aligns powerfully with the song’s theme of confidence.
Beyond attire, the collection reimagines significant accessories. These include the khăn mỏ quạ, a square headscarf 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 the kiềng, a silver or gold necklace often passed down as a cherished heirloom.
The inclusion of attire from different regions of Vietnam underscores the diversity of labor and how dress is intrinsically shaped by geography, occupation, and daily life. Nàng Gấm masterfully blends the utilitarian design of workwear with the regal silhouettes of ceremonial garb, interweaving them into contemporary couture compositions.
This thematic contrast is particularly evident in Look 1. The long robe draws inspiration from the áo tấc, a type of rain cloak fashioned from layered palm leaves, and the áo long bào, a gold robe adorned with dragon motifs traditionally reserved for emperors. This deliberate juxtaposition marries garments from vastly different origins, creating a compelling visual narrative.
Look 3’s skirt silhouette directly mirrors the shape of nơm bắt cá (fish trapping baskets), while cascading yellow silk fringes evoke flowing grains of rice. This design powerfully evokes imagery of generations of agricultural labor and the sustenance it provided.
Look 4 pays homage to ethnic minority communities inhabiting Vietnam’s mountainous regions. Its dramatic asymmetrical shoulder piece emulates the contours of rolling hills and towering peaks. Across the garment, carved waves suggest the movement of ruộng bậc thang (terraced rice fields). Worn over a backless áo yếm-inspired dress with a striking leg slit and a wide-brimmed nón ba tầm that artfully conceals the eyes, this look exudes confidence and allure, capturing the quiet resilience inherent in Vietnamese women.
From Initial Sketch to Exquisite Silhouette: The Craftsmanship of DOAN Atelier
Look 4 also holds a special significance as it marks the genesis of the Nàng Gấm collection. It was the first sketch to emerge from Jennie’s initial concept and the very first design brought to life, with the original sketch meticulously preserved throughout its execution.
The construction of this piece presented a significant learning curve, with Jennie acknowledging the considerable challenge of working with silk. Furthermore, she was committed to using a finite supply of ethically sourced materials, ensuring all silks and fabrics for the collection originated from Vietnam. The Doan family played a crucial role in the collection’s development; their parents procured the necessary textiles from local markets and artisans in Vietnam before shipping them to Canada. This familial support, coupled with the collaboration of local businesses and artisans, reflects an "it takes a village" approach, reinforcing the collection’s dedication to Vietnamese authenticity and craftsmanship.
During the interview, Jennie showcased a piece of test fabric that she had experimented on to achieve the intricate grooved slashes in the shoulder piece of Look 4. Here, trademark yellow silk peeked from beneath black canvas, interwoven with delicate lines of embroidery, each slit and threaded pattern meticulously executed by hand. Jennie revealed that she had carefully dissected an áo dài sent by her mother, studying its layers, seams, and structure to gain a deeper understanding of its construction.
The painstaking level of detail infused into each piece powerfully embodies the thematic proverb of Nàng Gấm: khó nhọc, sung sướng sau, which translates literally to "suffer first, ease later," the Vietnamese equivalent of "no pain, no gain." This adage, deeply ingrained in Jennie and Austin by their parents, resonated profoundly with Jennie as she meticulously assembled each garment.
This philosophy of discipline and meticulous care is echoed 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."
Incorporating agricultural motifs into the collection, Jennie emphasized the importance of manual labor in "harvesting the fruit" of her work. Much like the fishermen, rice harvesters, weavers, and hardworking Vietnamese people throughout history, it is precisely this intensive labor and care that is essential for preserving delicate beauty. Through the creation of this collection, Jennie gained 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: A New Dawn for Vietnamese Fashion
The unveiling of Nàng Gấm represents a significant milestone for DOAN Atelier, yet it is merely the beginning. Jennie and Austin are dedicated to establishing their presence in the competitive fashion industry, navigating the demanding rhythms of school, work, and life. Their immediate goals include deepening their understanding of the industry, fostering connections with fellow creatives, and strategically building their team.
Deeply inspired by the Vietnamese designers who have paved the way and their contemporary peers, the siblings aspire to join them on the global stage, contributing to a burgeoning vision of Vietnamese talent.
During the development and showcase of Nàng Gấm, Jennie and Austin observed that many were deeply impressed by the quality of the silk, often exclaiming, "Wow, is this coming from Vietnam?" This sentiment initially surprised them, as they noted, "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 rich legacy of craftsmanship has historically remained underrecognized. While Vietnamese tailors have recently gained viral traction on social media among tourists, for the Vietnamese people, tailoring culture has always been an integral part of daily life, with shops discreetly nestled on nearly every corner.
When reflecting on what they hope both Vietnamese and international audiences will take 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 develop their future bodies of work, DOAN Atelier remains committed to building upon the foundation laid by Nàng Gấm, translating heritage into modern reinterpretations. The brand persistently aims to position Vietnam not merely as a hub of production but as a vanguard of emerging creative talent, a land saturated with rich craftsmanship, cultural memory, and unwavering innovation.
At the heart of DOAN Atelier lies an enduring tribute to Vietnamese women, from past to present, whose strength, resilience, and labor continue to shape the very fabric of each meticulously crafted piece.
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