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The third and final subject of Vietnamese First Ladies fashion, Đặng Tuyết Mai was not the wife of a Vietnamese president, but that of a Prime Minister, and later, Vice President. A stylish figure often photographed during the Vietnam War, Mai’s clothing choices mirrored the style of another political wife, Jacqueline Kennedy Onassis. Both chose clean lines in stylish late 1960s and early 1970s silhouettes that complimented their youthful, but confident, beauty.
Similar to Jacqueline’s departure from politics after the death of her husband, American President John F. Kennedy, Đặng Tuyết Mai ended her role after the Fall of Saigon in 1975 by leaving her home country for the United States. Although she divorced her husband and moved back to Vietnam years later, both she and Jacqueline Kennedy Onassis were women who lived under the history of their respective spouses and by their own accord, fashion sense.
Đặng Tuyết Mai’s story often begins with her career as a young airline stewardess turned politician wife, but her life in Vietnam started much earlier. She was born in 1942 to an academic family in Bac Ninh, and later, Hanoi. In the 1950s, she became one of the first air hostesses of Air Vietnam Airlines. A stewardess wore an outfit that honored Vietnam’s heritage with a reference to class, by way of an Ao Dai, matching cap, and high heels.
In 1964, she married then Vietnam Air Force Chief of Staff Nguyễn Cao Kỳ, a man known for his penchant for flash. In 1965, the couple was photographed together wearing military jumpsuits, which was a sign of solidarity with military troops as Prime Minister and wife. Even wearing the same outfit as her husband, Đặng Tuyết Mai wore her jumpsuit with a stylish flair by way of a chin-length bob, oversized-square eyeglasses, and a leather handbag.
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During her time as the Prime Minister’s wife, Đặng Tuyết Mai was photographed wearing both Western and Vietnamese fashions to events. When in Western attire, she chose elegant eveningwear ensembles, like cap sleeved ball gowns accented with a hand fan or a sleeveless dress with panels over black trousers. For daywear, she was photographed wearing sophisticated French ensembles that embraced texture and color.
She also wore Aio Dais, which connected her sense of style to national pride. Her ensembles included a beige, pastel floral silk gown and a pink and white piece with a strand of pearls. No matter her dress origin, she always chose ladylike accessories like pearls and a pocketbook. Her hair was styled in some sweeping style, whether in a bob or bouffant style, and she lined her eyes in thick, pointed eyeliner with rose petal lipstick.
Mai’s style changed years later with a more expensive and daring flair. She showed more skin in tight fitting dresses, displayed brightly colored jewels, and kept her penchant for a well-coiffed face and hair. Before her death in 2016, she was photographed looking ageless in a black bikini and gold accessories.
Vietnam today is known for their growing textile industry, but there’s a fascinating history of style influencers that should not be forgotten. For more on Vietnamese fashion, visit these articles of Madame Nhu and Nam Phuong.