In today’s society, cultural heritage preservation extends far beyond simply conserving its “soul” in a static state. It must ensure space for the emergence of new values and creative expression. It is time to regard culture not merely as a tool for ideological education, but as a potential industry - an economic sector that can generate tangible value.
However, the preservation of culture, particularly traditional crafts, remains a matter of deep concern for many Vietnamese amid an era of innovation and globalization. Among them is collector Nguyên Đặng - a young man with a profound affection for traditional folk toys, particularly đèn lồng (lanterns) and tò he (dough figurines). Nguyên is also the founder of Shinesium, a platform for cultural knowledge-sharing and fashion collectible business in Vietnam.
I can’t quite recall how long our conversation with Nguyên lasted. We talked while walking and sitting, in the space where he blends cultural artifacts with a model of archival fashion. Nguyên calls it his “experimental space,” but to me, it brimmed with the textures of childhood memory.
Where did your love for traditional cultural products begin?
I was born in Buôn Ma Thuột, but I had the fortune of spending eight years living in a truly rural village. I believe that’s when I first developed feelings for childhood folk toys. When I was in kindergarten, I’d eagerly run to admire the tò he figurines sold by local artisans outside the school gate while waiting for my mother. Just watching them mold the figures was mesmerizing. That kind of yearning felt like a pure, childlike desire - something not easily granted. Only if I performed well and earned a perfect score would my mother buy one for me.
As for lanterns, my connection began during a fashion project in Huế, which unfortunately had to be postponed indefinitely due to the pandemic. Through that project, I stumbled upon a fragment of my childhood memory: the đèn kéo quân (revolving shadow lantern).
To me, those lanterns possess a certain magic. The moment I reencountered them, I envisioned applying their rotating effect to fashion installations, making the space more contemporary. The imagery, such as animals and soldiers rotating in sequence evokes a truly unique emotional effect.
What made your journey to revive tò he and lanterns special?
It was not... easy. In the past, these toys were popular, primarily among noble families, especially in Thăng Long Citadel and the old quarters of Hanoi, such as Hàng Gai, Hàng Bông.
Today, tò he has been vanished from daily life, appearing only at a few festivals or fairs. At one point, I earnestly wandered the streets of Saigon in search of tò he artisans but came up empty-handed. I eventually resorted to ordering some online, over a dozen but was disheartened by the results. Though the designs were familiar, they lacked refinement. The material quality and craftsmanship fell short of my childhood recollections. Refusing to give up, I went to Huế.
Still nothing. I then traveled to Hanoi. On the final day, I was introduced to Mr. Đặng Văn Hậu, who lives nearly 40 km outside the city. Upon seeing the tò he pieces displayed in his home, I was stunned by their level of sophistication. I was overwhelmed with emotion. It saddened me to think of those who only know “online tò he”, which is merely an imitation.
That was just my experience. The real credit belongs to artisans like Mr. Trịnh Bách and Mr. Trọng Bình. Reconstructing artifacts like the lanterns is an arduous process. We don’t know exactly what paper was used, and the old techniques have faded. Only images and museum samples, often housed abroad, remain. Fortunately, they identified the material as giấy nhiễu, and one of the first successfully restored items was the con cá hóa long (a carp transforming into a dragon).
Artisans hold incredibly high standards. Near resemblance isn’t enough. The work must achieve precision and perfection. Each design is repeated countless times until it reaches the ideal form. The con cá hóa long marked both a beginning and a major milestone in this reconstruction journey.
How do these cultural items contribute to Vietnamese spiritual life, especially for children?
I don’t deny the value of academic knowledge or the importance of investing in educational apps. But to me, a child’s spiritual life is a crucial determinant of a nation’s long-term prosperity and happiness.
Toys like tò he, whether depicting a majestic dragon from the Lý Dynasty or a tiny fish, all bear a sense of whimsy and distinct personality in every expression and detail. Children can build entire imaginary worlds from such toys.
However, today’s society offers fewer environments where these toys can fully inspire creativity. This is a real loss for children.
Though designed for children, these items now largely appeal to adults, perhaps because they were once children too. No matter how far we travel or how many cultures we explore, we eventually seek to return to something pure and authentic - our Vietnamese values. That sense of innocence is the priceless emotion we all yearn for, isn’t it?
Why integrate tò he and lanterns into your fashion model when the two seem unrelated?
Simply because I want Vietnamese cultural products to retain their original charm—as they were when toys were cherished gifts, crafted with love and care. Their beauty lies in meticulous craftsmanship, not in mass-produced imitations for younger generations who only experience a diluted concept.
The essence of reviving a cultural product lies in its reintegration into daily life, allowing it to exist across different contexts. Restoration should not mean locking items away behind museum glass.
Take lanterns. Most associate them with the Mid-Autumn Festival. But now, people buy battery-powered versions. Yet, Vietnamese restaurants, tea houses, cafés, or even diplomatic lounges could beautifully display personalized lanterns tailored to one’s aesthetic or preferences.
We must expand the contexts in which lanterns appear, with diverse forms, colors, and applications beyond a single occasion. They can gracefully complement any space.
Eventually, I plan to separate fashion and cultural products entirely, giving each the space to grow independently. Cultural artifacts deserve their own dedicated platform.
Preserving tradition must go hand-in-hand with financial sustainability. Do you have a long-term vision for your projects?
I wholeheartedly agree. Cultural heritage must be part of contemporary life to stay alive. To do that, we must normalize these products, only then can restoration and preservation succeed.
We must redefine “preservation.” It’s not about freezing artifacts in time but about reintegrating usable values into everyday life. I truly believe in the bright future of cultural products. They can exist anywhere, anytime, not just in nostalgic spaces.
This industry holds immense potential if harnessed effectively. I’m fortunate that my pop-up store customers deeply care about culture. Introducing lanterns via fashion was my first step in making them more familiar to everyone.
Of course, I can’t rely on fashion alone to sustain this cultural passion. I’ve considered partnerships across various industries, especially interior design. These items can become table or shelf decorations in different sizes and styles.
Have these cultural products brought you any profit yet?
People often express doubt when they hear I began this journey in 2021 yet still don’t have an official brand. Is this just a hobby? Honestly, I could’ve started a brand quickly, built a team, and commercialized it. But that would’ve felt disrespectful to the predecessors whose knowledge shaped my work.
The greatest challenge was earning the trust of artisans like Mr. Trịnh Bách and bridging three generations. Once business enters the picture, discussions on profit and equity are inevitable. Some partners remain hesitant, so I know transparency in supply chains and demonstrating potential are key to gaining trust.
That’s why this project must develop on a realistic timeline. But we can’t wait too long. These cultural waves are fleeting. If we don’t act in time, we’ll lose the youth’s fleeting interest like so many cultural trends before.
How do you assess young people's engagement with cultural products?
Patriotism already resides quietly in every Vietnamese heart. It doesn’t need to be constructed, just awakened. Our father once fought for our country; now we can love it by embracing its arts and culture.
There are many encouraging signs: reality shows like Anh trai vượt ngàn chông gai or Anh trai say hi, and creative cultural content on social media. However, improper media guidance can cause misrepresentation. Still, I believe this can be rectified.
As for succession, it’s hard to say. Creating intricate handicrafts demands immense patience. I’ve seen prominent individuals quit in the early stages. Observing is one thing; crafting requires sacrifice.
If you had two wishes for your cultural endeavors, what would they be?
My ultimate dream is clear: to see tò he and lanterns become national cultural symbols.
Think of Japan with its Noh masks and Kokeshi dolls. What represents Vietnam? I believe grassroots cultural items, born from everyday labor, best reflect our consciousness. They needn’t be philosophical or abstract. They simply speak for themselves.
Why must diplomatic gifts be grand gestures when a vibrant, expressive tò he set could tell the story of an innocent and skillful Vietnam? We can be proud—these are Vietnamese creations, born from Vietnamese ideas, shaped by Vietnamese hands. Who else could craft such delightful toys?
That’s my spiritual dream. My practical dream is to make the project self-sustaining. Long-term vision demands more than passion, it requires stable revenue and responsible commercialization. We have the name and the model. Now, time must take its course.
A few international friends and overseas Vietnamese have expressed interest in showcasing these items. I was touched but I declined some offers. I cannot rush. The journey to extend the life of these culturally rich products to let them keep telling their stories to future generations will be a long one.
𝐏𝐇𝐎𝐍𝐆 𝐓𝐇𝐀𝐍𝐇 – A Pop-up Event Celebrating Archival Fashion and Traditional Vietnamese Lanterns
In the spirit of continuously exploring multidimensional connections between art, aesthetics, and lifestyle, Phong Thanh resumes its journey of conveying artistic value through archival fashion and traditional Vietnamese lantern craftsmanship.
On this special occasion, Shinesium presents a curated collection of over 200 archival and time-enduring fashion pieces by some of the most iconic designers in the global fashion scene. Alongside this, Shinesium continues its mission to revive the intricate legacy of traditional Vietnamese lanterns—meticulously restored and developed through the expertise of cultural researcher Trịnh Bách and master artisan Trọng Bình.
We warmly invite all admirers of beauty and cultural heritage to join Shinesium in experiencing PHONG THANH at the boutique space of Ka Koncept.
- Venue: Ka Koncept Flagship Store – 12 Lê Lợi, Bến Nghé Ward, District 1, Ho Chi Minh City
- Time: From May 21 to June 1, 2025 | 09:30 AM – 09:30 PM
Note: The event is open to the public and entirely free of charge.