Through the Lens: Chiron Duong

Redefining Vietnamese traditions through ‘Portraits Áo Dài’
By Sharrona Valezka

‘Through the Lens’ is a series that explores in detail images from fashion image-makers in Southeast Asia, shining a light on their creative and technical processes.

Chiron Duong is a Vietnamese photographer, based in Ho Chi Minh City, whose artistic practice revolves around his cultural identity. His visual language builds a cultural bridge that redefines traditions in Vietnam, offering a fresh perspective to his international audience. In this interview, Chiron talks about ‘Portraits of Áo Dài’, a year-long photography project he started in 2021 that portrays the traditional garment, and how his BArch in Landscape Architecture from Ho Chi Minh City University of Architecture has influenced the way he worked on the photo series.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

To start, we would like to know more about your project, ‘Portraits of Áo Dài’, and the concept behind it. What made you decide to start shooting images of traditional áo dài and what does this particular garment symbolise to you personally?

When I was conferred the Picto Fashion Photography Award in 2020 in France, international journalists asked me something which has haunted me ever since: does Vietnamese traditional culture influence your style? This question led me to start a special project that serves as an opportunity to look into who I am, as well as a journey of appreciating and showing my gratitude to my origin by bridging the gap between tradition and the modern world. From there, I came up with ‘Portraits of Áo Dài’, a 365-day photography project that spotlights the Vietnamese traditional dress.

Through this series, I wish to tell different stories of the áo dài: áo dài in childhood memories; áo dài in Vietnamese arts and poetry; áo dài in the love for Vietnam our motherland; áo dài in traditional, unique Vietnamese practices; áo dài in wartime as a symbol of hope for peace; and many more. All these themes are represented vividly through the Vietnamese women dressed in the áo dàis. 

Could you explain to us what led you to make the series a 365-day project?

As the national dress of Vietnam, the áo dài contains a long history of Vietnamese traditional culture and aesthetics. It is also often used as an object to symbolise Vietnam on an international scale. However, the áo dài suffers from cultural appropriation as several foreign designers have wrongly claimed the design as their own. In the past decades, with the development of the fashion industry in Vietnam, many local designers have attempted to revamp the áo dài, only to create some sort of a fashion disaster. 

Throughout history, the áo dài adapts itself into different forms to sync with a particular era, while ensuring its applicability and maintaining the garment’s essential aspects: softness, grace, and elegance, all of which radiate the delicate bearing of its owner. Therefore, these essentials should be the framework for any creative touch on the áo dài as a respected symbol of Vietnam.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

You have stated that your images use áo dài as a symbol that stands for a metaphor for the past, present, and future. How does your photography combine the traditional aspects of Vietnamese culture and modern aesthetics by using the áo dài as a medium?

My photography style is associated with opposing characteristics: softness and strength; optimism and melancholy; glory and withering. Now that I reflect on my journey, the áo dài has always influenced my photography style, even when I am unconscious of it. It is both an adjective and a noun, and represents the dichotomy between the simple and simultaneously strong and seductive Vietnamese women. When I saw my grandmother and mother wearing áo dài on important occasions, I was touched. When they were getting ready, they would stand in front of the mirror while brushing their hair. In that moment, all of my childhood memories would flash through my mind. These women have been through many ups and downs in life, which have exposed their beauty, strength, and bravery. I admire them tremendously.

“When I saw my grandmother and mother wearing áo dài on important occasions, I was touched. When they were getting ready, they would stand in front of the mirror while brushing their hair. In that moment, all of my childhood memories would flash through my mind. These women have been through many ups and downs in life, which have exposed their beauty, strength, and bravery. I admire them tremendously.”

As the main object of the project, each image portrays áo dài in different forms and colours. I would like to know how you collected the garments for the photo series. Were the Áo Dài used in the project from your personal collection? 

Since the garment is very popular in Vietnam, all of the áo dàis worn by the models in this series are from their personal collections. In addition, I also borrowed some áo dài from various places.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

The series features your family and friends, and it was the first time some of them were in front of the camera as models. Why did you choose to feature them and not professional models?

Vietnamese women wear the áo dài on many occasions such as weddings, traditional holidays, and events. Sometimes, they would wear them outside of special occasions simply because they feel like wearing them. Therefore in one way or another, they all have fond memories of the áo dài. Since I wanted this project to be both an objective and subjective experience, I invited my friends, my grandmother, and my mother to appear in this project. They are not fashion models and do not belong to the usual beauty standards for Asian models, which are influenced by Chinese and Korean beauty criteria. Despite some of them having never stood in front of the camera before, the gentle, benevolent, and elegant beauty traits of the Vietnamese women were reflected through their faces and personalities in the images.

With each concept of this project, I want to tell a little story. I would ask the models to feel the characters and portray them in their own ways so I could capture their most genuine expressions. Every time I look at the images, it amazes me how the models could tell my story with their respective voices.

“Vietnamese women wear the áo dài on many occasions such as weddings, traditional holidays, and events. Sometimes, they would wear them outside of special occasions simply because they feel like wearing them. Therefore in one way or another, they all have fond memories of the áo dài. Since I wanted this project to be both an objective and subjective experience, I invited my friends, my grandmother, and my mother to appear in this project.”

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

Most of the images in the series incorporate elements of movement and dance. How do they relate to the áo dài and/or tell the story you intend?

The movements express the flexibility of the áo dài. I remembered that I was strongly impressed by women wearing áo dài and being able to walk during the windy weather, their dresses flying smoothly and delicately. The softness and grace are also revealed in the souls of Vietnamese women.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

Chiron Duong, ‘Portraits of Áo Dài’, 2021-2022. Image courtesy of the photographer.

The use of vivid colours is also a predominant tone in the series. Is there a reason for working with this particular palette? What role does colour play in your images?

My biggest inspiration is the Vietnamese and Asian cultures in general. As a part of my research, I have explored and learnt that the Asian color palettes are not only vivid and uplifting, but also liberating, and delightful, and they have so many stories to tell. I strive to convey the mysterious sentiments of Asian culture through folklore and traditional beliefs. With photography as my instrument, I strive to create images with colours, materials, emotions, and techniques that portray the combination of Western and Eastern culture, particularly Vietnamese culture.

Brian Gothong Tan, ‘The Lee Brothers Studio 2065’, 2022. Image courtesy of the artist.

Brian Gothong Tan, ‘The Lee Brothers Studio 2065’, 2022. Image courtesy of the artist.

What were the biggest challenges that you faced during the process of completing the project, and how did you solve them? Also, were there any parts that turned out differently from what you originally envisioned?

The biggest challenge is time and money. I had to prepare long in advance to be able to embark on this project. Besides believing in the project, I also had to answer questions such as: What am I doing? Should I continue with this project? The conceptual and technical part was also something that I planned and thought about a lot. I had to make a list of what I needed to shoot in this project and tweak it day by day.

I would like to know what you hope to achieve with ‘Portraits of Áo Dài’. What is the message you want to convey, and the impact do you wish for it to have?

Finally, through this project, I wish to bring awareness to a prejudice that generations of Vietnamese artists would like to eliminate, which is the misconception that Vietnam is all about wars. Although the wars have ended, many still think of Vietnam as a miserable country injured by wars and hindered by their shadows.

The artists of previous generations who lived during wartime have left behind unique artworks that reflect the traits of their time. As a younger generation born in a period of peace in the country, I see how Vietnam develops every day in so many different ways and because of this, I feel the need to create to let the world know how beautiful my country is. Therefore, my project, ‘Portraits of Áo Dài: Hope for Peace and Love’, is a message that conveys my pride as a child of Vietnam. I see the sacred significance of peace and would love to spread it to the world. 

“The artists of previous generations who lived during wartime have left behind unique artworks that reflect the traits of their time. As a younger generation born in a period of peace in the country, I see how Vietnam develops every day in so many different ways and because of this, I felt the need to create to let the world know how beautiful my country is.”

With your background in landscape architecture, why did you eventually choose to work with photography as a medium? How have your studies impacted the way you carried out your practice as a photographer, specifically this project?

At first, photography helped me relax after stressful school hours. When I realised that photography has a lot of potential in social community activities and conveys my personal thoughts, I considered pursuing photography as my main job. In my opinion, photography has a lot of similarities with landscape architecture. When working on photography projects, I apply a similar research process that landscape architects usually do. 

In architecture, the elements of lines, light, and colour are combined to create a feeling. I do not try to separate these elements in my photography works either. The colours I use in my images go with the different types of materials (rough, shiny, soft, or sparkling) to create a special effect that evokes a different sensation. The contours in the images are also an arrangement of contrasting elements such as dynamic and still, sharp and blurred etc. 

Brian Gothong Tan, ‘The Lee Brothers Studio 2065’, 2022. Image courtesy of the artist.

‘Portraits of Áo Dài’ has been featured in various international publications and exhibitions. You also won the Picto Fashion Photography Award in 2020 with this project. What do these achievements mean to you as an artist, or particularly as an artist from Vietnam/Southeast Asia? What has been the impact of this win on your creative practice?

These achievements have helped me to believe in myself more and shape the ideas of my projects. I feel happy to be able to share my culture with everyone, which is something that shares similarities with a landscape architect whose role is to design for the community.

What is next for 'Portraits of Áo Dài' and what are your plans as a photographer?

I will still expand 'Portraits of Áo Dài' in the near future and at the same time develop my other project La Main De Saigon through writing and collecting photos.
 

See more of Chiron's works here or on Instagram at @chironduong.