Ban khac “DAM CUOI CHUOT”
Category: Apparel
Competitions: Vietnam
This collection draws inspiration from The Rat Wedding, a traditional Vietnamese woodblock carving, exploring the translation of carved visual language into contemporary fashion. Rather than directly replicating imagery, the designs reinterpret the essence of carving through material, structure, and surface treatment. Leather serves as the primary medium, functioning as a sculptural surface that reflects the solidity, depth, and tactile quality of carved wood, while softer fabrics introduce balance and movement. The first look focuses on controlled structure and clarity of form. The silhouette follows a body-contouring line, with leather shaping the upper body as a unified surface. The bodice panel is defined by a wave-like edged trim, creating a rhythmic visual flow that echoes the lively procession depicted in The Rat Wedding. Through pulling and fixation techniques, the leather maintains surface tension, allowing each curve to remain precise and stable. Subtle layering across the bodice suggests overlapping carved planes, while defined edges recall the precision of incised lines. At the back, cloud motifs appear in a restrained and fragmented manner, evoking the interplay of positive and negative space found in woodblock carving. The waistband extends this sculptural language, functioning as a narrative surface. Raised and recessed treatments suggest the moment of offering, while sharper forms introduce tension. Its slightly asymmetrical placement wraps across the body like a lateral force, reinforcing structure and reflecting the underlying power dynamics within the story. A pleated silk skirt printed with yin–yang motifs and softly flared sleeves provide contrast, softening the composition and enhancing movement. The second look develops a more expressive and fragmented approach. The outer leather skirt becomes the central sculptural element, treated with controlled cut-outs that resemble natural cracks and fractures. These irregular divisions evoke the raw texture of carved wood while being carefully arranged to create rhythm and directional flow. On the front panels, raised surface treatments abstractly suggest the image of rats presenting offerings to the cat. Toward the back, the procession continues through extended carved motifs, forming a continuous narrative across the garment. Cloud patterns, rendered through variations of light and shadow, add depth and soften the material’s rigidity. Beneath this layer, a pleated silk skirt introduces fluidity and reinforces the contrast between structure and movement. The upper garment references traditional Vietnamese liền anh – liền chị attire, reinterpreted in a contemporary manner. The shoulder structure subtly suggests mouse ear forms, creating a conceptual link to the narrative. The combination of leather and silk further emphasizes the dialogue between sculptural form and softness. Overall, the collection positions leather as both a structural and narrative medium, transforming the language of wood carving into a contemporary fashion expression that balances cultural storytelling, material exploration, and modern aesthetics.
