Cain was pulled from the water with his parachute, there’s a humble little restaurant that Mc
Cain himself might have found amusing, if decidedly odd. State-Run Food shop #37 is an homage to the postwar bao cấp era (1976–86), a period of scarcity và unspeakable hardship in Vietnam. Not a time you’d imagine looking back on with any longing, but here it is—all beer-clinking bonhomie, perpetually jammed with Hanoians young and old. With its vintage tube TV set, oil lamps, Soviet-made fans, và Communist propaganda posters, the interior evokes a government-issue canteen from the ’70s, back when private restaurants with actual names were outlawed.
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State-Run is the brainchild of Dặng Thanh Thủy, 46, who, in a previous life, was the founder of Vietnam’s leading fashion magazine, Đẹp (“beautiful”), & who, in her bespoke silk tunic, still looks lượt thích she’s front & center at a runway show. (She has two full-time tailors on her payroll.)
Thủy was raised by civil-servant parents in the Red River village of An Dương, at the nadir of the bao cấp era. As the only girl among five kids, Thủy was charged with cooking for the family: queuing up at dawn for their 16-kilogram monthly ration of rice; combing the riverbank for tiny shrimp & crabs when meat was scarce.
“These are the dishes of my childhood,” she says, pointing around the wooden table at our lunch order: a cozy bowl of pickled cabbage, wok-fried in pork fat, & rau lang om mẻ (sweet potato leaves marinated with tangy fermented rice). Cơm cháy bò cay is a highlight: an inverted dome of golden-brown rice, with a socarrat-like crust that you shatter with a spoon, then dip the crunchy shards into an earthy beef stew.
The quintessential subsidy-era dish is mì nấu ăn cà chua, or tomato noodle soup, which is basically a spicier, socialist riff on Spaghetti
Os. Dishes lượt thích this hold deep sentimental value for Thủy and others of her generation—one thinks of the food critic in Ratatouille, swooning over his mother’s home cooking. If it all sounds like a theme restaurant, I suppose it is one (guests scribble their orders on yellow ration cards). But while the concept feels a bit too clever, the food is stupid delicious. And I’d never before seen middle-aged Vietnamese men murmur in pleasure over a pile of pickled cabbage.
I’ve been visiting Hanoi every few years since 1998, và its implausible beauty—or beautiful implausibility—still does something khổng lồ the back of my neck. It remains, to my mind, the most romantic city in the Far East, the one Southeast Asian capital every traveler should visit, if for nothing but to rearrange old assumptions, & to reignite your spark for travel.
Hanoi also happens to be a perfect microcosm for the region—the timely, the timeless, the graceful, the infuriating, và the unfathomably delicious, all in a single, compact, & (relatively) manageable city.
This being Asia, 20 years might as well be a century. Every time I return, some whole new suburb has sprung up, most recently Mỹ Đình, the “new economic center” of 30-story towers rising khổng lồ the west. The endless green expanse of rice paddies that once framed the road in from the airport—furrowed by water buffalo yoked khổng lồ wooden carts—has shrunk to lớn a few token acres. As in other Asian capitals, Hanoi’s modern side keeps getting sleeker and more improbably luxe. Two decades ago all the global brands here were counterfeits—clothing shops touting “Bvlgaria” and “Amarni,” T-shirts emblazoned CALVIN CLINE. Now there’s a proper Cartier flagship at the Tràng chi phí Plaza mall. And if the store is mostly empty, at $90,000 a bracelet, I suppose all they need lớn sell is one.
Hanoi has always been more conservative than its southern rival—it’s the Boston to lớn Saigon’s Miami, a thành phố of poets và artists, academics, & other moody ruminants. (The winter mist lends itself to reverie.) For reasons both long-standing & recent—Hanoi’s proximity to China, the north’s enduring strain of Confucianism, and, of course, Saigon’s role in the American conflict—one cannot overstate the differences between the two. In cityscape and temperament, the capital leans more into tradition & history than its hypercharged counterpart.
The 1901 facade of the sofitel legend metropole, hanoi’s oldest (and still loveliest) hotel.Linda Pugliese
“If Saigon is the American dream,” says the Hanoi journalist Hoang Nga, “then Hanoi is the Asian dream. We’re more cautious, reserved, always one step behind—while Saigon is about running, running into the future.” That future, apparently, comes served in a zigzag-stemmed martini glass.
Hanoi’s embrace of the past has endeared it to Western visitors, who tend khổng lồ prefer it khổng lồ other Asian capitals—for its incense-shrouded temples, traditional cửa hàng houses, & elegant French Quarter villas. The thành phố has done its best khổng lồ oblige them, smartly packaging its sepia-toned nostalgia for foreign tourists. (Look no further than the 1952 Citroëns parked outside the Sofitel Legend Metropole Hanoi.)
The difference, now, is that young Hanoians—who came of age after Vietnam’s 1990s global awakening—have likewise fallen under the spell of that nostalgia & are laying claim to a past they weren’t even there for. State-Run Food cửa hàng #37, the subsidy-era canteen, is just the foremost example of what could be termed a citywide restoration project.
“Until recently, no one under 50 cared about antiques or reclaimed furniture or old textiles,” says my Vietnamese-Australian friend Vy, who grew up in Sydney và moved back khổng lồ Hanoi a decade ago. “In the trendier spots, everything was sparkly and polished, lượt thích Singapore.” That’s still largely the case, but the new generation is finding novel allure in the aged, the well-worn, the handmade.
You see it in wabi-sabi cafés like the Little Plan, where kids sip flat whites from the same chipped enamel mugs their grandparents once filled with lotus-petal tea. You see it in the concept store that Nga runs with her husband, Tran Liem—aptly named Collective Memory—where vintage prints, wood-fired ceramics, và hand-dyed tribal scarves (all produced in Vietnam) are displayed on rustic tables. You see it in the curious proliferation of 1960s reel-to-reel tape players that now adorn every cool bar and restaurant. (Where did they find them all? Why don’t I have one?)
Chefs, too, are sifting through the past for inspiration. At the superb new restaurant sản phẩm Sơn 1871, Nguyễn Phương Hải—a sixth-generation Hanoian whose great-grandmother was herself a legendary cook—is rescuing forgotten recipes of the north, including a historically correct (and magnificent) rendition of Hanoi’s beloved chả cá: fish fried with dill & turmeric, served in the skillet on a tabletop ceramic brazier.
Everywhere you look, it seems, young Hanoians are digging through the proverbial attic. Artists are reviving lost forms lượt thích puppetry and papermaking. Fashion houses are fusing traditional textiles and handmade H’mong embroidery lớn contemporary silhouettes. And is it any surprise that secondhand clothing is suddenly all the rage? One can understand the motivation.
For Hanoians born after the war—as a majority now were—a reel-to-reel player is as exotic as a spinning wheel; a typewriter might as well be a loom.
Among young and old alike, the past 30 years must have felt like a mad dash out of history, with little time lớn look back. Now many are glancing over their shoulders khổng lồ wonder what was left behind. “A lot of things, we’ve already lost,” says Nga. “We run too fast and too far.”
I’m reminded of my first visit here, in 1998, and the immortal advice of the motorbike-rental guy. I’d noticed my bike was missing a rearview mirror, and he just laughed. “What happens behind you, not your problem!” he said. Nobody looks backward in Hanoi traffic.
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“You’ve essentially got a new generation who are saying, ‘Wait, there’s something more,’” says Sophie Hughes, a British expat who leads tours of Hanoi’s contemporary-art scene. She, too, has noticed, among young Vietnamese, “this fascination for anything old & before their time.”
Part of this is a symptom of the digital age, where everything—and every era—is readily available & ripe for rediscovery. “The new generation has access that their parents never had,” Sophie notes. “When they look back at their history, they can really assess it, & question what actually happened. There’s a genuine curiosity about whatever came before.”
We happen lớn be sitting at an outpost of cùng Càphê, a wildly popular chain of coffee bars designed around (no joke) a Viet Cong motif. Military-issue rubber sandals và 1960s Russian textbooks line the shelves above us; the staff wear khaki-green camo and peak caps adorned with red stars. Everyone around us is under 25. The coconut-coffee shake is ridiculously good.
“Of course, any generation is obsessed with old stuff,” Sophie says. But there’s a deeper impulse behind these restless excavations. In a country where national pride often feels obligatory và imposed from above—holding little weight among the post-’75 generation—young people are casting back to lớn define, on their terms, what it means to be Vietnamese now. “In a way, it’s a new form of nationalism,” Sophie says, “but a nationalism that’s self-chosen.”
Sophie moved to Vietnam nine years ago, khổng lồ manage the renowned Saigon art space Galerie Quynh. “When I first arrived, I met a lot of artists who were my age, and you know how hospitable Vietnamese are—they’d invite me lớn their homes, and I’d meet their parents và grandparents, many of whom were artists as well,” she recalls. “It struck me that, across three or four generations, you could trace Vietnam’s entire modern history.” That’s when she lit on the idea of telling the country’s political & cultural story through art. She now runs tours in Hanoi, Huế, và Saigon, taking collectors and curious tourists inside private galleries and studios.
While Saigon has made gains of late, with splashy openings like the Factory Contemporary Arts Centre (a massive exhibition và cultural space), Hanoi remains the heart & soul of Vietnam’s art scene. This is where it all began anew, in the early 1990s, when local collectives like the Gang of Five began pulling the capital’s stodgy Beaux Arts traditions into a new millennium, and onto the global stage.
But if previous generations looked outward & overseas for inspiration, Hanoi’s new wave is gazing inward. Take, for instance, Zenei, a crew of Hanoi-based artists who mix out to lớn rescue a thousand-year-old form of Vietnamese written language—now nearly extinct—called Nom. (Traditional Nom script was phased out duringthe colonial era, & officially replaced by the Latin alphabet in 1945; today, only a handful of scholars can read or write in the original language, including the five members of Zenei.) By incorporating Nom script into playful, abstract artworks và performances, the Zenei group have sparked new interest in study of the form.
Consider, too, the work of designer Vũ Thảo, 40, whose slow-fashion label, Kilomet109, is a collaboration with artisans from Vietnam’s 54 tribes: ethnic-minority communities whose traditional dyeing, weaving, & embroidery techniques are, like Nom script, at risk of disappearing.
Having grown up in the bao cấp era, Thảo remembers a time when clothing và fabrics were both in short supply, & nearly all produced domestically, mostly by hand, in small workshops and artisan villages. In their rural hamlet of Thái Bình, southeast of Hanoi, Thảo and her sister learned to sew their own clothes, & to appreciate the intrinsic value of the materials và their craft. Years later, she would put those skills to lớn use, making baby clothes for her newborn son. By then she’d embarked on a career in journalism but was inspired khổng lồ go back lớn school, at the Hanoi outpost of the London College for Fashion Studies.
The curriculum, she soon realized, was almost identical to lớn the original in London. “We studied Western fashion—twenties flappers, fifties rock-and-roll, denim, punk. It wasn’t our culture at all,” Thảo recalls. “Yet we have so much. The 54 tribes alone! Each group has a huge, deep history, và all these distinctive techniques. But no one was really looking at that back then.”
Thảo, by contrast, began using those traditional elements in her own designs. In 2012, she launched Kilomet109 (a reference lớn the distance between Hanoi & her hometown). The hope was to lớn raise the profile—and the perceived value—of so-called ethnic techniques and clothing designs.
While other fashion brands may play up their connections khổng lồ hill-tribe artisans, Thảo’s is a genuine cooperative. The work is carried out by 30 artisans from four ethnic groups, scattered across north Vietnam (Thảo spends a third of her year in the villages). Nearly all of her clothing is sustainably và organically produced, making use of age-old methods: applying beeswax to lớn garments for a subtle sheen; harvesting indigo from Kilomet109’s own plantation lớn create brilliant-blue tunics and elegant quilted jackets.
“A lot of Vietnamese, they’re easily seduced by mass-production clothing,” Thảo says. “Young people see big brands & think that’s our future. We’re supposed khổng lồ be ‘global citizens,’ you know?” For this reason, Vietnam’s garment industry is under tremendous cultural pressure, not just economic. “We still bởi vì manufacturing in Vietnam—for Adidas, Zara, H&M—but it’s almost entirely for export, for the international market,” she says. “So you see a lot of ‘Made in Vietnam,’ but not ‘Made for Vietnam.’”
Meanwhile, Thảo has noticed—among designers, fashion students, và consumers alike—a heightened interest & palpable excitement about traditional techniques & handcrafted design. “I don’t think it’s just a trendy thing,” she adds. “Now it’s more like a movement. People are realizing the impact of keeping the old ways alive—whether it’s economic, cultural, or environmental. & right now, Vietnam is really at the forefront of that.”
Hanoi How-To
When to goRight this minute. Fall, winter, and early spring find mild and pleasant temps, while summer is blazingly hot.
Getting thereFly nonstop lớn Hong Kong on Cathay Pacific’s new A350 from Newark, Dulles, San Francisco, or Vancouver; all flights connect easily lớn Hanoi on Cathay Dragon.
The place to stayThe Sofitel Legend Metropole is exactly what you came for: a 1901 landmark two blocks from trả Kiếm Lake, with a savvy concierge staff, fantastic breakfasts, and colonial atmosphere lớn burn.
Where khổng lồ eat và drinkCome to Hang sơn 1871 for chef Nguyễn Phương Hải’s fantastic chả cá; stay for updated classics lượt thích crab vermicelli and bánh bột lọc Huế (pork-and-shrimp-filled tapioca dumplings). State-Run Food siêu thị #37 channels a 1970s government-issue canteen, serving simple, craveable dishes (like spicy beef stew with crunchy rice) khổng lồ an improbably stylish clientele. Longtime favorite Chim Sáo highlights the cuisine of Vietnam’s ethnic minorities—order grilled pigeon with sautéed young bamboo, garlicky molten eggplant, and lạp sườn (smoked pork sausage), & pair them with knockout rice wines. Ưu Đàm Chay is Hanoi’s hottest new restaurant, a stunning multistory villa with equally Instagrammable Vietnamese-inflected vegetarian food. Three-year-old An Biên specializes in Haiphong-style seafood, lượt thích thick bánh da noodles in a rich crab-and-pork broth, or plump mantis shrimp lớn dunk in a bubbling hot pot. The all-day café Maison de đầu năm Décor occupies an ocher mansion on West Lake; go for sunset drinks on the balcony or Aussie-style breakfasts (grain bowls, eggs from the owners’ farm). Down a sleepy lane in ba Đình, Reng Reng cafe is a whisper-quiet, no-Wi-Fi café that wouldn’t be out of place in Tokyo. You might wait trăng tròn minutes for your ristretto (made with arabica beans from Vietnam’s Central Highlands), but you’ll find no finer cup in town.
Finding the best street foodStreet food is more a sensibility than a strict definition: Many stalls now have indoor tables & air-conditioning, even if they still cook in curbside kitchens. Most vendors specialize in a single dish, prepared as it always was and ever shall be. Start your peregrinations at Bún Chả Đắc Kim, an Old Quarter institution since 1966. Bún chả is really several plates in one: smoky grilled pork belly, pork meatballs wrapped in fragrant wild betel leaf, và double-fried crab spring rolls, all served with a tangle of rice vermicelli, fish-sauce dressing, and a heap of fresh herbs as big as your head. How you devour it all is up khổng lồ you. At $4 an order, it’s the best bargain—and my favorite meal—in Hanoi. For your pho fix, hit the rough-and-tumble Phở Gia Truyền, where a giant cauldron of beef broth simmers up front. Join the regulars at communal tables, wordlessly slurping noodle soup from dawn till late morning (pho is a breakfast thing here). In an alleyway shaded by a weeping fig tree, Bún Cá Sâm Cây say mê is known for delicious nem cá: deep-fried spring rolls filled with wood-ear mushrooms, minced pork, scallion, & tender fish. At the popular sandwich stall bánh mì 25, run by the affable Mr. Phuong, you order your banh mi at a sidewalk cart, then take it across the street to his open-air café, where you can get an avocado smoothie or fresh nước chanh leo (passion-fruit juice). Finally, bún riêu is Hanoi’s “other” noodle soup—a brighter, tangier counterpart khổng lồ beef pho. Shot through with tamarind, tomato paste, and nutty annatto oil, the crimson broth at Bún Riêu 41 has amazing depth. Fill out your bowl with freshwater crab, snails, beef, and fried tofu, and you’ve got a nap in your future.
The shopping sceneVũ Thảo’s slow-fashion brand, Kilomet109, applies traditional Vietnamese kiến thiết techniques (natural dyes, hand-woven silks) to lớn beautiful và clean-lined women’s & men’s clothing. Collective Memory has whimsically curated Vietnamese art, handicrafts, and artisanal products. If Hermès had a lacquerware boutique, it might look like Hanoia, with sleek, vibrantly colored pieces showcased in an elegant Old Quarter villa (there’s an outpost at the Metropole hotel). Chảy My thiết kế is Hanoi’s oldest embroidery cửa hàng and a favorite of local designers and expats, who come here for breezy women’s clothing, housewares, and soft bed linens from Catherine Denoual. Those same expats swear by the tailors at Hoa Fashion, up by West Lake, for expert copies of dresses, tops, pants, và jackets. Best lớn bring your own fabric; allow for two or three fittings.
What else to see và doThe American art expert Suzanne Lecht has lived in Hanoi since 1994, và her gallery, Art Vietnam, helped bring international acclaim to lớn contemporary artists lượt thích the Gang of Five; her private home and collection are mở cửa to serious visitors by appointment. The charming gallery-café Manzi has become the art scene’s de facto hub, with rotating exhibits & regular salons. Sophie’s Art Tour is on hiatus while Sophie Hughes is on a research sabbatical, but should be up & running again in 2019 (check sophiesarttour.com). If you visit only one museum, make it the excellent Vietnamese Women’s Museum, for its powerful exhibit on the “long-hair army,” the women who helped win Vietnam’s independence & reunification. There’s also a floor dedicated to lớn Vietnamese fashion, from hill-tribe costumes to lớn contemporary couture.
This themed khách sạn is a favorite of those looking to briefly escape the bustling streets of nearby Bangkok.
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Walk down any street in Vietnam, và it quickly becomes apparent this is a country that’s crazy about coffee. From people sipping and sitting on low plastic stools on the sidewalk while gossiping with friends, to those who prefer the pricier, hipster-style cafes popping up around Ho bỏ ra Minh City & Hanoi, the need for caffeine is inescapable.
Everyone at Hanoi’s humble coffe Giang however, is after something more than just a caffeine fix. They’ve come for “cà phê trúng,” or egg coffee, a Hanoi specialty in which a creamy soft, meringue-like egg trắng foam is perched on dense Vietnamese coffee.
While destinations across the city now serve it, this coffe claims to lớn have invented it.
There are hot & cold versions. The former is served as a a yellow concoction in a small glass. It’s consumed with a spoon và tastes almost like a coffee flavored ice cream – more lượt thích a dessert than coffee.
The hot version comes resting in a small dish of hot water to lớn maintain its temperature. The strong coffee taste at the bottom of the cup seeps through the egg – the yellow layer on đứng đầu – và is quite thick và sweet, though not sickly.
