Fresh Faces: Jordan Nguyen

Vietnamese-Canadian designer on self-identity and cultural connections

F&M’s Fresh Faces is a series featuring young Southeast Asian fashion practitioners, where we speak with them about how they embarked on their careers and what propels them as creatives.

Jordan Nguyen is an emerging London-based designer with a Vietnamese-Canadian background. In 2021, he moved to London to pursue a Graduate Diploma in Fashion Design Technology at London College of Fashion after graduating from Ryerson University with a Bachelor of Design in Fashion Design two years prior. Jordan’s practice is influenced by his upbringing in a Vietnamese household, and explores themes of evolving self-identity and cultural connections as a part of his design philosophy.

Jordan Nguyen.

To start, could you talk about your background? What was your first memory or encounter with fashion?

I was born and raised in Richmond, British Columbia, Canada in a Vietnamese household. I grew up surrounded by natural landscapes and greenery all around me. My sense of peace comes from being in nature.

My initial memory or encounter with fashion can be described by my initial relationship with dressing myself in my teens once I had the autonomy to do so. I came to recognise that wearing certain cuts and fits of clothing changed not only the proportions of my body but also influenced how I felt in my clothes. Through the conscious act of dressing and experimenting with different styles, I came to understand the ability of clothing to impact not only how you appear physically but also how you feel internally and emotionally. It was only later on that I realised fashion’s capability of being an outlet for creative storytelling that can be embedded with meaning, identity, and diverse references.

What are the themes, ideas, or subjects piquing your interest at the moment? What or who are the main influences your work draws upon?

I am interested in the themes of evolving self-identity, Vietnamese heritage, and meaningful making. These aspects are integral to my design philosophy, and inform the visual research that I collect, my inspirations and the manner in which I choose to create. The main influences in my work draw from elements of Vietnamese culture such as dress, history, material culture, and Vietnamese women themselves. I am inspired by their strength, resilience, and courage as they serve as the foundation of Vietnamese culture.

“I am interested in the themes of evolving self-identity, Vietnamese heritage, and meaningful making. These aspects are integral to my design philosophy, and inform the visual research that I collect, my inspirations and the manner in which I choose to create.”

Jordan’s work from past collections. Image courtesy of Jordan Nguyen.

Jordan’s work from past collections. Image courtesy of Jordan Nguyen.

How have your studies at Ryerson University and London College of Fashion continues to influence your craft?

Undergoing my Bachelor of Design at Ryerson University prepared me with a wide array of technical skills in pattern cutting, draping, and garment construction. The meticulous attention I pay to craft garments is a value that is ingrained in me beginning from my time at the university.

At the London College of Fashion, I developed a stronger sense of identity in my work that was informed by visual research, sampling, and thorough design development. The encouragement I received to further explore my Vietnamese heritage in the context of fashion allowed me to embrace it unapologetically. It was also during the postgraduate course that I began experimenting with colour in relation to Vietnamese identity. It has completely transformed my design process by adding a sense of joy and vibrance to my work.

Look 3 of ‘Vietnamese Power Dressing’ collection. Image courtesy of Jordan Nguyen.

Look 7 of ‘Vietnamese Power Dressing’ collection. Image courtesy of Jordan Nguyen.

Look 6 of ‘Vietnamese Power Dressing’ collection. Image courtesy of Jordan Nguyen.

Let’s talk about your latest collection ‘Vietnamese Power Dressing’, which aims to capture the essence of a contemporary Vietnamese woman through everyday dress. How did you initially arrive at this focus?

The concept for this collection arose and was initially developed during my postgraduate studies at the London College of Fashion. I had been collecting diverse images of everything related to Vietnam that caught my eye, and what resonated most with me was seeing the different types of dress women wore in everyday work and common life. I was also fixated on the concept of power dressing and wanted to challenge myself to interpret the concept through a Vietnamese lens.

I began to examine the different design components of the clothes worn by the women as well as their historical dress origins in the context of the tasks they were performing — whether it was working in the fields, selling in the markets, or expressing their identity through their ethnic dress. I found that the qualities of the dress linked to a sense of ease, allowing for functionality and practicality while embodying a sense of femininity in the cut or subtle tailoring of the garments.

Process development of ‘Vietnamese Power Dressing’ collection. Image courtesy of Jordan Nguyen.

Process development of ‘Vietnamese Power Dressing’ collection. Image courtesy of Jordan Nguyen.

This understanding of the intention of their dress led to my design development. It also led me to conclude that power dressing is not only a means of expressing authority but can also serve to be a means of celebrating and honouring cultural identity. 

What would you like to communicate through the collection? Are there any specific elements in the garments that you would want people to pay attention to, and why? 

Ultimately, I want this collection to communicate a sense of joy in the celebration of cultural heritage. This collection is based on extensive research in referencing traditional and modern Vietnamese dress, as well as embracing colour that is authentic to the nation’s material culture. It is through this collection that I want to capture an elevated, elegant, and contemporary perspective on Vietnamese-inspired design that honours the Vietnamese women of the past and present.

Certain techniques used in this collection required meticulous precision and handwork such as the flower petal motif appliqués as well as the shirring seen on the sleeves of two of the tops. While the raw silk petal motifs may appear seamless on the garments, they have all been delicately cut, finished, edge-stitched, and carefully considered in terms of placement, size, and proportion to one another. The shirring technique on the sleeves is used to reference the natural folds and wrinkles on Vietnamese raglan sleeve blouses required for each stitch to be hand-tied at the beginning and end for a cleaner appearance on the fabric.

The shirred areas on the sleeves may also appear random, but they have all been plotted and calculated in terms of length, width, distance from each other, and the number of stitched columns in each area to ensure symmetry between the sleeves. This precision-driven handwork takes dedication, patience, care, and love to achieve. It is in these details that I demonstrate my appreciation and value for high craftsmanship.

Behind the scene process of the shirring technique. Image courtesy of Jordan Nguyen.

Another aspect of the garments to consider is the soft tailoring of the silhouettes. In referencing elements of traditional and modern Vietnamese dress, it was important for me to capture a sense of ease in the garments while suggesting femininity. Every garment in the collection has a fitted quality while also being loose and fluid to allow for movement. Elements of wrapping, tying, and layering are evident in the looks. These attributes aim to highlight the distinctive style of Vietnamese clothing.

Could you share more of the creative and technical process of creating the project? What were the biggest challenges that you faced and how did you solve them?

The design process of this project began with experimental draping on the mannequin with references close by. I worked directly in coloured fabrics from the beginning which added liveliness and vibrance to my developmental work. A creative sampling of ruching, shirring, and floral appliqué techniques was then applied to technical elements referencing Vietnamese raglan sleeves and design elements of garments including the áo dài, áo yếm, and áo bà ba.

Behind the scene process of cutting the floral applique motifs. Image courtesy of Jordan Nguyen.

The main challenges I faced were creating the desired fit of certain silhouettes as well as achieving balanced proportions with design lines, asymmetrical designs, and plotting the scale and placement of the petal motifs on the garments. These considerations were problem-solved by creating multiple toile prototypes, fitting the prototypes directly on a body, and extensively sampling areas and techniques first on a smaller scale before working directly on the final garment.

You indicated that your designs emphasise meaning, culture, and identity to foster connection. What kind of connection are you aiming for in particular and what is the significance to you as a Vietnamese in exploring these aspects?

My work seeks to create a connection that reminds people of the value and beauty of cultural heritage, with the hope to encourage others to discover their own roots and connect with their cultural identities. I want people to recognise the importance of preserving traditions and celebrating their distinct cultural backgrounds, especially in an age subject to trends of acculturation and assimilation in the face of present-day mass social homogeneity.

As a Canadian-born Vietnamese, I did not have the experience of growing up and living in Vietnam. I did not have the same experiences as my parents who lived through periods of poverty and war and who escaped the country to the refugee camps in Thailand in hopes of finding a better life. It is my awareness of the history that precedes me, and the stories shared by my parents that fuel my curiosity to further discover the significance of my cross-cultural background. In this pursuit of cultural discovery, as linked to personal identity, my intention is to create and encourage cultural representation and visibility through my work that people will resonate with globally.

“In this pursuit of cultural discovery, as linked to personal identity, my intention is to create and encourage cultural representation and visibility through my work that people will resonate with globally.”

You were one of the designers chosen to showcase your collection at the ‘Vietnam Days in UK’ event hosted by the Vietnam Embassy in London to celebrate the 50th anniversary of the diplomatic relationship between the two countries. What does this opportunity mean to you and how does it affect your creative practice? 

This opportunity was a blessing that I am incredibly grateful for. I am deeply touched to have had the support of the Vietnam Embassy in London as well as Ambassador Nguyen Hoang Long. It felt surreal to be showcasing my designs at an event and in front of an audience that was incredibly relevant and aligned with the purpose of my collection – to celebrate Vietnamese heritage. I felt that my work was understood and appreciated in a greater context of Vietnamese culture.

This experience connected me to a community of Vietnamese in London and the United Kingdom that I previously was unaware of. From members of the embassy to leaders in the community as well as students from the Vietnamese association, these are all people with whom I hope to continue to collaborate and build relationships to inform a more connected practice in London.  

‘Vietnamese Power Dressing’ collection showcase at the ‘Vietnam Days in UK’ event hosted by the Vietnam Embassy in London. Image courtesy of Jordan Nguyen.

As a young emerging Southeast Asian designer in London, what are some of the key challenges you face and equally opportunities that you seek? 

Designing with a central emphasis on cultural influence creates challenges in itself, in that not everyone will understand the value of what you are trying to do. Finding opportunities to showcase my work and gain exposure is a challenge, especially on the competitive international world stage of fashion that is London. Getting your work noticed and meeting industry professionals who want to support your design journey is rare, but I believe it is a matter of being persistent in searching for opportunities, being prepared to showcase yourself and your work, and putting yourself out there to make meaningful connections.  

In terms of opportunities that I seek, I hope to collaborate with more creatives in the city as well as the Vietnamese community. I also hope to gain further experience with established designers to learn more about diverse design practices and the running of a fashion business. It would be incredibly beneficial to work under brands that have a cultural heritage as one of their values, and observe how they translate their designs to a global market.

Jordan with the models backstage of the fashion show. Image courtesy of Jordan Nguyen.

Finally, what plans do you have in store for your practice moving forward?

There are many areas of fashion design that I want to further explore, including textiles, print, pattern, couture tailoring, and experimenting with elements like shape and volume. I also want to further research the intricacies of Vietnamese dress and their construction as well as traditional embroidery and dyeing techniques. These interests will lead to continued design development.

With the value of connection in my practice, I am looking to integrate more collaboration with the Vietnamese community and engage with Vietnamese creatives and artists. I hope to become more connected to a global network of Vietnamese people who share similar passions and values and who want to express them in a creative way.

See more of Jordan's on Instagram at @thejordannguyen.