Chiang Mai’s history as a vassal state of the Thonburi Kingdom and later the Rattanakosin Kingdom is closely tied to its rulers, known as the “Phaya Prathet Rat” (Lords of a Vassal State). The first of these was Phaya Wichian Prakan (Boonma), who became the first Phaya of Chiang Mai during the Thonburi era. Later, during the Rattanakosin period, some rulers, such as King Kawila and King Mahotaraprathet, were granted the honorary title of “King of a Vassal State” (Phra Chao Prathet Rat).

บริษัท Stereo Travel Company ซึ่งเป็นผู้ผลิตภาพถ่ายสามมิติที่มีชื่อเสียงในช่วงต้นศตวรรษที่ 20 ได้นำเสนอภาพชีวิตประจำวัน วัฒนธรรม และประเพณีของดินแดนอันห่างไกล รวมถึงพม่า (เมียนมาในปัจจุบัน) ด้วยเทคโนโลยี AI ที่ล้ำสมัย ภาพถ่ายขาวดำในอดีตเหล่านี้ได้รับการปรับปรุงสีสันให้สดใส ราวกับมีชีวิตชีวา ช่วยให้ผู้ชมยุคใหม่สามารถสัมผัสกับรายละเอียด สีสัน และความงดงามของวิถีชีวิตชาวพม่าในช่วงยุคอาณานิคมของอังกฤษได้อย่างสมจริงยิ่งขึ้

“A shrill blast of horns heralded the approach of the King and caused us hastily to descend into the court,” Thomson wrote of the occasion. “His Majesty entered through a massive gateway, and I must confess that I felt much impressed by his appearance, as I had never been in the presence of an anointed sovereign before. He stood about five feet eight inches, and his figure was erect and commanding; but an expression of severe gravity was settled on his somewhat haggard face. His dress was a robe of spotless white, which reached right down to his feet; his head was bare.

“All was prepared beneath a space in the court when, just as I was about to take the photograph, His Majesty changed his mind, and without a word to anyone, passed suddenly out of sight. We patiently waited, and at length the King reappeared, dressed this time in a sort of French Field Marshal’s uniform. The portrait was a great success, and His Majesty afterwards sat in his court robes, requesting me to place him where and how I pleased.”

In the photograph of King Mongkut in the French field marshal uniform, he wears the sash of the Legion d’honneur and the Star First Class presented to him on behalf of Emperor Napoleon III by the admiral of the French fleet in Indochina. On a side table rests a small telescope, reflecting the King’s interest in astronomy and its Western methods of study.

AI Fashion Lab has meticulously transformed the original glass photonegative by John Thomson into a lifelike (realistic portrait) and three-dimensional representation. This endeavour pays tribute to the enduring legacy of King Mongkut, while thoughtfully presenting the historical significance of this iconic photograph in a manner that resonates with and engages modern audiences.

King Mongkut (Rama IV)

Photographed by John Thomson in 1865

Colourisation by S. Phormma Colorizations

Realistic rendering by AI Fashion Lab

This photograph, taken in 1865 by John Thomson in Bangkok, is a royal portrait of King Mongkut (Rama IV) of Siam. The King is depicted in full ceremonial attire, including a brocade jacket intricately woven with elaborate patterns, reflecting his regal status and the grandeur of the Siamese court.

The lower part of his attire features the traditional chongkraben, a type of draped garment commonly worn in the Thai royal court, crafted from intricately patterned fabric befitting his rank. The King is seated on a royal throne in a dignified pose, surrounded by ceremonial objects such as engraved containers and beautifully adorned vessels, symbolising the traditions of the Siamese monarchy.

This photograph illustrates the blend of Thai cultural heritage with early Western photographic techniques during a transformative era of modernisation in Siam under King Mongkut's reign.

Fashion in Thailand During the Reign of King Rama VI: A Fusion of Tradition and Modernity

The reign of King Rama VI (1910–1925) marked a fascinating period of transformation in Thai fashion, where the country’s elite embraced a unique fusion of traditional and Western influences. As Thailand, then known as Siam, sought to modernise and strengthen its position on the global stage, its cultural expressions, including fashion, reflected this delicate balance of maintaining national identity while embracing global trends. The hybridised style that emerged during this time became a symbol of the Thai elite’s sophistication and adaptability.

One of the most iconic aspects of this era was the combination of Western-style blouses with traditional Thai garments like the chongkraben. Influenced by Edwardian fashion, women of the elite class wore lace blouses with high collars, intricate embroidery, and delicate fabric details. These Western blouses symbolised modernity and refinement, their modest yet elegant silhouettes appealing to the conservative tastes of the Thai aristocracy. Paired with the traditional chongkraben, a wrapped lower garment resembling trousers, this fusion of styles created a uniquely Thai adaptation of global fashion trends. This combination allowed women to incorporate modern influences while honouring their cultural heritage.

A Fashion Evolution: Thai Teenagers' Style from King Rama V to King Rama VII

The fashion of Thai teenagers during the reigns of King Rama V to King Rama VII (1868–1935) presents a fascinating blend of traditional Thai elements and Western influences. This was a time of significant cultural exchange, as Siam opened its doors to modernisation and globalisation. Teenagers, especially those from aristocratic families, embraced these changes, incorporating modern elements into their clothing while still honouring their heritage. This restoration project reimagines the youthful vibrancy of the era by using bold colours to create a playful and engaging aesthetic.

Graceful Fusion of Thai and Western Elegance During the Reign of King Rama VII

This collection is a restoration of old photographs using AI technology, with colourisation and enhancements to create a realistic, 3D-like appearance. This collection is a vibrant and artistic reimagining of women’s fashion in Thailand during the reign of King Rama VII (1925–1935). The images were initially sourced from original glass plate photographs preserved in the National Archives of Thailand, as well as other public domain materials. These photographs have been carefully colourised and enhanced using AI technology. The vivid colours are a deliberate choice, serving as a playful homage to the fashion of the era, blending historical accuracy with creative interpretation.

The fashion of Thai women during King Rama VII’s reign reflects a harmonious blend of traditional Thai elegance and Western influences from the 1920s flapper era. A defining feature of this era was the pairing of Western-style blouses with a loose, straight fit and the traditional pha-sin (Thai tubular skirt). This combination created a relaxed, straight silhouette that was inspired by global trends of the time while retaining a distinctly Thai identity. Luxurious fabrics like silk or satin were commonly used, emphasising the country’s rich textile heritage. Flowing drapes and soft textures, adapted from Western styles, complemented the practicality and grace of traditional Thai attire.

Fashion of Lanna Women (1900–1910)

The fashion of Lanna women during the early 1900s to 1910 reflects the Edwardian influences blended with traditional Thai aesthetics. This era marked the late reign of King Chulalongkorn and the early reign of King Vajiravudh.

Lanna women embraced the upswept hairstyles, a popular Edwardian trend, often adorned with pins, flowers, or decorative accessories. Their blouses featured Victorian-inspired high collars, lace, and puffed sleeves, paired elegantly with the traditional phasin, a tubular skirt woven with vibrant patterns unique to Lanna culture.

About the Colourisation:

I colourised these photographs with bright, vivid tones to evoke a sense of playfulness and creativity. While the colours of the pha-sin, blouses, and accessories may not be historically accurate, they aim to bring a fresh perspective to the elegance of the period.

This collection showcases the restoration of historical photographs using AI technology, bringing old images of Thai women during the reign of King Rama VI (1910–1925) back to life. By colourising and enhancing these photographs into realistic, 3D-like visuals, these restored images not only highlight the elegance of past fashion but also provide deep insights into the cultural and social contexts of the era.

The reign of King Rama VI marked a golden age of cultural transformation in Siam. Women's fashion during this period went beyond mere clothing—it reflected the social, political, and economic dynamics, harmonising globalisation with the preservation of Thai identity.

King Chulalongkorn the Great had many sons and daughters, as he wished to have them assist in the administration of the kingdom. Among them was Her Royal Highness Princess Sudaratana Dibyabha, who was granted the prestigious title of Princess of Rattanakosin, akin to a duchy in Western terms. Affectionately known by the palace staff as "Toon Kramom Ying," she served as a royal secretary during King Rama V's reign, accompanying her father on royal trips and hosting foreign dignitaries. She also played a role in addressing the crises of the R.S. 112 (1893). It is said that her beauty was so striking that even her father remarked, "She is as beautiful as an angel."

The Princess of Rattanakosin, originally known as Princess Sudaratana Dibyabha Sukhumkattiya Kanlayawadi, was the 19th daughter of King Rama V. She was born to Queen Sukhumala Marasri on 14 September 1877.

King Rama V referred to her as “Luk Ying” (“Daughter”), while the palace staff addressed her as “Toon Kramom Ying” or “Toon Kramom Ying Yai” (“Eldest Royal Daughter”). She was the first high-ranking princess of the reign and the only daughter of King Rama V to be elevated to the prestigious rank of Krom Luang, a title comparable to a duchy in Western tradition. While in the West, a woman with such a title would typically be styled as the Duchess of [Place], in Thai royal traditions, the title was not altered based on gender. Her title, Princess of Rattanakosin, not only reflected her noble status but also symbolised Bangkok itself, as the name of the capital city was incorporated into her title, honouring her importance within the royal family.

Exploring Gender and Identity in Early 20th-Century Siam

These images offer a unique glimpse into early 20th-century Siam, during the transformative reign of King Rama VI (1910–1925). They depict young men dressed in women’s attire, blending traditional Siamese clothing such as the pha-nung and sabai with a clear exploration of gender presentation. These outfits may reflect artistic expression, theatrical performance, fancy dress, or even early expressions of transgender identity, showcasing the fluidity of gender roles during a time of cultural evolution.

The reign of King Rama VI was marked by the blending of traditional Siamese values with the growing influence of Western modernity. Globally, this era saw increasing scrutiny of masculinity and rigid gender expectations shaped by Edwardian norms. In Siam, however, the arts provided a space where traditional forms of gender fluidity persisted. Theatrical performances, especially khon and lakhon, maintained a long-standing tradition of cross-dressing, offering socially acceptable venues to explore identity beyond societal constraints.

Queen Supayalat: The Last Queen of Burma

Queen Supayalat (စုဖုရားလတ်), born on 13 December 1859 in Mandalay, stands as one of the most controversial figures in Burmese history. As the daughter of King Mindon and Queen Hsinbyumashin (also known as the Lady of the White Elephant), she rose to prominence through her marriage to her half-brother Thibaw, the last monarch of the Konbaung dynasty. Her life was marked by ambition, political intrigue, and an unyielding determination to consolidate power during one of Burma's most tumultuous periods.

The set of eight photographs showcase Princess Dara Rasami of Chiang Mai, taken in 1905 by Chao Chom Erb Bunnag in an outdoor studio setting at Vimanmek Mansion, Dusit Palace in Bangkok, complete with a European-style toilette table, mirrors, and rugs. This intimate portrayal captures Princess Dara Rasami letting down her exceptionally long hair—a notable symbol of her ethnic and regional identity from Lan Na (Northern Thailand).

These images exemplify both the evolving roles of Siamese royal women in early 20th-century photography and the cultural distinctions between Siamese and Lan Na elites. Princess Dara Rasami, a royal consort of King Chulalongkorn (Rama V), entered the Siamese court as part of a diplomatic alliance. Unlike Siamese women who embraced the cropped hair style and wearing chong kraben (a wrapped lower garment), Lan Na women like Princess Dara retained their traditional tubular skirts (pha-sin) and long hair, often styled in a bun. This sartorial distinction highlighted her ethnic identity and her unique role as both a representative of Lan Na culture and a member of the Siamese royal court.

The AI-enhanced photographs presented here breathe new life into the iconic glass plate portraits captured by John Thomson during his travels in China from 1868 to 1872. Focusing on Chinese women of the Qing dynasty, these images reveal the beauty, cultural richness, and intricate fashion of a bygone era. By utilising advanced AI technology, these photographs restore vivid details of traditional garments, elaborate hairstyles, and accessories, bridging the historical and the modern.

John Thomson, a pioneering Scottish photographer and traveller, was among the first Western photographers to document life in East Asia. Born in Edinburgh in 1837, Thomson developed a passion for photography and exploration early in life. His travels spanned Southeast Asia, the Middle East, and China, where he captured stunning portraits and landscapes, making him a significant figure in the history of photography.

ภาพของพระราชชายาดารารัศมีในพระอิริยาบถต่าง ๆ ถูกสร้างสรรค์ขึ้นเพื่อแสดงความน้อมสักการะในพระคุณงามความดีของพระองค์ โดยภาพเหล่านี้เป็นการผสมผสานภาพวาดลงสีหลายภาพเข้าด้วยกัน จนกลายเป็นภาพเสมือนจริงที่งดงามและทรงคุณค่า ทั้งนี้ ภาพดังกล่าวจัดทำขึ้นด้วยความเคารพยิ่ง โดยไม่มีเจตนาใดที่จะลดทอนพระเกียรติของพระองค์

The images of Princess Dara Rasami in various postures have been created as a gesture of reverence to honour her virtues. These works are a blend of several coloured illustrations, seamlessly combined into lifelike depictions that are both beautiful and dignified. They have been produced with the utmost respect and hold no intention whatsoever of diminishing her honour.

Sao Nang Tip Htila’s legacy is deeply rooted in the history of Kengtung and the Shan States. As the daughter of Sao Kawng Tai II and the elder sister of Sao Kawng Kiao Intaleng, she played a pivotal role in governance during a critical transition. In 1895, she served as regent for her younger brother before he came of age. Later, in 1897, she married Hkun Un of Kenghkam, assuming the title of Mahadevi. After her husband’s passing, she uniquely rose to govern Kenghkam as the only female Saopha in Shan history, earning admiration for her administrative skills, trade acumen, and infrastructural contributions.

During the late reign of King Chulalongkorn, Siam experienced a cultural transformation, particularly in fashion, as it sought to modernise and engage with the Western world. The royal court, especially the all-female inner court, began to incorporate Western dress elements, blending them with traditional Thai styles to create a unique identity for Siamese aristocracy. Influenced by Edwardian elegance, these women might have worn delicate lace gowns, high-waisted skirts, and upswept hairstyles, mirroring the sophistication of European nobility while maintaining Siamese grace and refinement.

This fusion of styles was not only a statement of modernity but also a powerful cultural force within the palace, influencing fashion standards across Siamese society. The adoption of Western elements by the inner court symbolised openness to change and reinforced Siam’s position on the world stage. While the Edwardian-inspired fashions evolved, they left a lasting legacy that continued to shape Thai fashion throughout the 20th century, where Western tailoring and silhouettes remain integrated into traditional attire, embodying a harmonious blend of East and West.

In 1930s Thailand, during the reign of King Rama VII, fashion experienced a fascinating blend of Western and traditional Thai elements. This era saw Western collar styles like Peter Pan, winged, and Windsor becoming popular among the Thai elite, especially as Western influences in clothing design grew. To complement these styles, this article accompanies a collection of vintage-inspired, colourised photographs. The images bring a unique cultural touch by incorporating Thailand’s traditional “auspicious dual colours” for each day of the week, a practice rooted in the royal inner court traditions from the reign of King Chulalongkorn. The concept pairs skirts with sabai shawls in symbolic colour combinations such as light yellow and blue for Monday or plum and green for Tuesday, each believed to bring good fortune. This careful pairing of Thai colours with Western collars symbolises an elegant fusion of East and West, honouring the beauty of Thai heritage while embracing Western sophistication in 1930s fashion.

In the 1930s, the detached collar became a key feature in women’s fashion due to its economic and practical advantages. Amidst economic hardship, detached collars offered a versatile way for women to refresh their wardrobe without purchasing entirely new garments. Available in various materials, such as lace, cotton, and velvet, these collars allowed for customisation suited to different occasions, from everyday wear to formal events. Their ability to be laundered separately also prolonged the lifespan of garments, making detached collars a clever, stylish solution that balanced elegance with affordability.

In the 1930s, collars became a defining element in women’s fashion, adding sophistication and structure to various outfits. Influenced by economic hardships, fashion shifted towards practical yet elegant designs, with collars offering a way to express individuality within modest budgets. Styles ranged from high Victorian-inspired collars and delicate Peter Pan designs for daywear, to dramatic, Hollywood-influenced wide collars for evening wear. These collars framed the face and added balance to the broad-shouldered silhouettes of the decade, symbolising a blend of practicality, femininity, and resilience in 1930s women’s fashion.