Common women of the time dressed in “chong kraben” (traditional wrapped trousers) or pleated fabric skirts, paired with a front-buttoned blouse that featured a low-standing collar and narrow sleeves extending to the wrists. The blouse, known as "seua kan-krabok", was form-fitting and extended just to the waist. It was complemented by a pleated silk shawl draped diagonally over the blouse, which in the later reign of King Rama V came to be known as “phrae sapai”. This style emphasized simplicity, practicality, and modesty, reflecting the daily lives of commoners during the period.

Attire of the Elite During the Reign of King Rama IV

Women of high social status preferred luxurious and intricate fabrics such as gold-brocade textiles or “krachiek” fabrics. They adorned themselves with lavish jewellery such as “thap suang” pendants, gold collars (taat), bracelets (pahurat), ear pendants (sa-ing), necklaces, bejeweled belts, and diamond rings, showcasing their wealth and social power. This attire was typically worn during significant occasions such as royal audiences or ceremonial events, emphasizing elegance, grandeur, and respect for court traditions.

The late 19th century was a period of rapid cultural and social change across the globe. In Europe, the era was known as La Belle Époque, a time of artistic flourishing, technological advancement, and optimism in countries like France and Britain. Meanwhile, in the United States, this period was marked as The Gilded Age, characterised by industrial growth, wealth disparity, and significant societal transformation. Siam, under the reign of King Chulalongkorn (Rama V), experienced its own version of La Belle Époque. This was a time of modernisation and reform, as the king sought to strengthen Siam's position on the global stage by adopting Western technology, education, and cultural practices while maintaining the country’s independence amidst colonial pressures.

Fashion became a prominent symbol of these changes. In the West, this era saw the rise of elaborate and structured clothing, such as the bustle skirts and corseted waists that defined feminine silhouettes. Siamese elites, particularly the nobles and ladies of the inner court, adopted elements of this Western fashion, integrating them into traditional Thai dress. This fusion of styles represents a unique intersection of global influences and local identity, reflecting Siam’s effort to modernise while preserving its cultural heritage.

The Edwardian-inspired lace blouse, paired with the intricately woven phasin (traditional skirt: ผ้าซิ่น), epitomises a unique fashion trend brought to prominence in early 20th-century Chiang Mai. This distinctive style, popularised by Chao Dararasmi and her court ladies, seamlessly blended Western Edwardian influences with traditional Northern Thai aesthetics, marking a significant cultural exchange during this period.

Edwardian Elegance Meets Lanna Tradition: During the late Edwardian era (1900–1910), Chao Dararasmi, consort to King Chulalongkorn, returned to Chiang Mai in 1914, four years after the passing of King Chulalongkorn. Her return, during the reign of King Vajiravudh (Rama VI), marked a significant moment for Lanna culture. Chao Dararasmi brought with her the refined elegance of Edwardian fashion, which had been popularised by the Siamese court in Bangkok. She adapted these trends to her own court in Chiang Mai, creating a unique hybrid style that reflected both Western sophistication and local traditions.

The trend revolved around high-necked lace blouses, typically in off-white or cream, with loose fits adorned with delicate lace and embroidery. These blouses were paired with intricately woven phasin (ผ้าซิ่น), often incorporating teen jok(ตีนจก, a separate patterned section of fabric often woven with gold or silver threads). The teen jok is a distinctive feature of the phasin, often signifying the ethnic or regional identity of the wearer. Its inclusion in royal fashion underlined Chao Dararasmi’s pride in her Lanna heritage and celebrated the cultural uniqueness of Northern Thailand.

In the late 19th century, during the height of the Victorian era, the Kingdom of Lanna (modern-day Northern Thailand) was undergoing a cultural and stylistic transformation influenced by its increasing interaction with Siam and Western powers. While Siamese court women in Bangkok famously paired their traditional chong kraben (wrap trousers) with tailored lace and leg-of-mutton blouses introduced by European trends, this particular silhouette did not transfer northward to Lanna women. Instead, Lanna court ladies and women of prominence adapted elements of Edwardian lace blouses in looser, more flowing styles to suit their lifestyles and climate.

However, the imagined pairing of leg-of-mutton blouses with the traditional phasin creates a compelling speculative fashion narrative, blending Victorian structure with Lanna’s local aesthetics. This AI-generated concept introduces an alternate history where Lanna women embraced the bold, structured sleeves of the Victorian era, merging them with the tubular phasin for a hybridised look that symbolises cross-cultural fashion innovation.

Chao Ubonwanna and Chao Thipkesorn: Two Influential Women in Lanna History

In the 19th century, Lanna existed as a vassal state of Siam. This period marked significant political, economic, and cultural changes, particularly during the reigns of King Rama III and King Rama IV of the Rattanakosin Kingdom. Among the notable figures of Lanna history were Chao Ubonwanna and Chao Thipkesorn, two sisters of the Chiang Mai royal family, who played critical roles in modernising Chiang Mai while preserving the identity of Lanna.

Background and Birth Years

* Chao Thipkesorn: Born in 1841 (BE 2384), during the late reign of King Rama III.

* Chao Ubonwanna: Born in 1845 (BE 2388), younger sister of Chao Thipkesorn and aunt to Princess Dara Rasmi.

Their births coincided with a period when Lanna retained significant autonomy but was required to pay tribute to Siam. Major reforms began during King Rama IV’s reign, ushering Siam into an era of modernisation and increased interaction with Western nations.

The Leg of Mutton Sleeve: A Symbol of Victorian Fashion

The leg of mutton sleeve emerged as a quintessential feature of late 19th-century Victorian fashion, encapsulating the era's emphasis on dramatic silhouettes and refined elegance. This distinctive style, characterised by voluminous puffed sleeves that gradually tapered to a snug fit at the wrist, reached its zenith during the 1890s (1890–1899). Drawing inspiration from the Romantic period of the 1830s, the leg of mutton sleeve resurfaced with renewed popularity, becoming a defining element of women's attire during the Victorian era's final decade.

The 1890s marked the exclusive prominence of this sartorial innovation, with its popularity peaking in 1895. By the mid-decade, the sleeves had expanded to their most exaggerated proportions, commanding attention as a hallmark of high fashion. Typically paired with tightly corseted bodices and A-line skirts, this silhouette accentuated the hourglass figure, epitomising the Victorian ideals of femininity and opulence.

The Edwardian era (1901–1910), often called the "Belle Époque," was a period of sophistication and elegance in Western fashion. Women’s clothing featured the iconic S-bend corset, paired with lace-adorned blouses and flowing skirts that accentuated a narrow waist. Upswept hairstyles with ornate hats were essential accessories, while men’s fashion leaned towards tailored suits with minimal decoration, signifying the shift towards more streamlined styles. Evening wear reflected opulence with luxurious fabrics such as silk and velvet, often embellished with intricate beadwork.

In Thailand, during the reigns of King Chulalongkorn (Rama V) and King Vajiravudh (Rama VI), Edwardian styles were adapted into traditional Thai fashion, reflecting a unique blend of cultures. Thai women incorporated Western blouses with lace, embroidery, and puffed sleeves into their attire, pairing them with the traditional chong kraben, a wrapped lower garment similar to trousers. This fusion maintained the elegance of Western silhouettes while preserving Thai cultural identity. Hairstyles were also influenced, with Thai women adopting the upswept style, enhanced by traditional jewellery and floral accents.

During the British colonial era, clothing became a symbol of anti-colonial sentiment. Traditional garments such as the Yaw Longyi, a type of Longyi from the Yaw region, and the Pinni Taikpon, a fawn-coloured, collarless jacket, were associated with nationalism and resistance. These outfits became symbols of Burmese pride and opposition to British rule. However, wearing such attire often resulted in arrests by British authorities as they were seen as passive symbols of defiance. Wearing “traditional” clothing thus became a method of peaceful resistance. Additionally, inspired by Mahatma Gandhi’s Swadeshi movement, Burmese nationalists campaigned to boycott imported goods, including clothing, to promote the use of locally produced garments, further boosting traditional attire's significance.

This latest collection delves into an alternative interpretation of 1920s Siamese fashion, featuring designs that embrace a vivid pastel colour palette. These designs stay true to the elegant drop-waist silhouette of the era, combining long blouses with traditional Thai tubular skirts (ผ้าซิ่น), but are reimagined in soft and delicate pastel tones. This colour scheme creates a sweet, elegant, and romantic aesthetic—a delightful contrast to the bold and rich colours traditionally used during the 1920s.

To achieve this, I recently trained a new AI model focused on a pastel palette tone, combining it with two other models to generate this collection. The first model represents authentic fashion from the Rama VII era, ensuring the historical accuracy of the silhouettes and overall design. The second model focuses on pastel colour tones, providing a fresh, soft, and dreamy reinterpretation of the traditional look. The third model is dedicated to Thai tubular skirts, capturing the rich diversity of patterns, textures, and styles from various regions of Thailand. By mixing these three models with different weightings, I’ve created a harmonious blend of historical authenticity, modern colour creativity, and cultural heritage.

One project I’m particularly excited to share involves reimagining the iconic styles of the British television series Downton Abbey in a Thai context. Downton Abbey, set in the early 20th century, chronicles the lives of the aristocratic Crawley family and their staff. Its costume design is celebrated for showcasing the transition from Edwardian opulence to the sleek, modern lines of the 1920s.

The series’ three leading ladies—Mary, Edith, and Rose—each have distinct styles. Mary’s wardrobe is elegant and structured, reflecting her confidence and sophistication. Edith’s attire features soft, romantic details, often in pastel tones with delicate embroidery. Rose’s youthful and daring outfits embrace the playful spirit of flapper fashion. Together, their costumes are a stunning representation of 1920s Western elegance.

Using these designs as inspiration, I trained my AI model to adapt them for a Thai setting. The results have been extraordinary. The AI preserved the glamour of the original designs while infusing them with a distinctly Thai identity. For example, where Western flapper dresses might feature sequins and Art Deco patterns, their Thai counterparts incorporate traditional motifs, handwoven silk, and draped silhouettes reminiscent of Thai royal attire from the era. Accessories like tiaras and headbands were reinterpreted with Thai-inspired designs, such as floral garlands and intricately crafted gold ornaments.

This project explores the elegant fusion of historical accuracy and modern AI creativity, focusing on the fashion of Siam during the reign of King Rama VII in the 1920s. The designs in this project integrate the flapper silhouette, which gained widespread popularity in the West, with a uniquely Thai aesthetic by incorporating drop-waist outlines created through the combination of long blouses and traditional Thai tubular skirts.

To carry out this project, I trained two AI models and used them together with different weightings. For the first model, I used an AI application to colourise original black-and-white photographs from Thailand’s National Archives. This meticulous and time-consuming process ensured that the dataset maintained a high degree of historical accuracy. The second model was specifically trained on Thai tubular skirts from various regions across Thailand, with most of the dataset consisting of tubular skirts from northern Thailand. This model captured the diversity of styles, patterns, and textures, reflecting the richness of Thailand’s textile heritage during that era.

Photography was introduced to Siam (now Thailand) in the mid-19th century, a period marked by increasing interactions with Western nations. The daguerreotype, an early photographic process invented by Louis Daguerre in 1839, was among the first photographic techniques to reach Siam.

In 1845, French Bishop Jean-Baptiste Pallegoix, a close confidant of King Mongkut, facilitated the introduction of photography to the Siamese court. Pallegoix, serving as the Vicar Apostolic of Eastern Siam, brought photographic equipment from France, enabling the creation of some of the earliest photographs in the region.

King Mongkut, known for his keen interest in science and technology, embraced photography as a means to document and modernize the kingdom. The king’s engagement with photography not only demonstrated Siam's openness to Western innovations but also served as a diplomatic tool. Photographs of the royal family and significant landmarks were shared with foreign dignitaries, showcasing Siam's rich culture and progressive outlook.

The daguerreotype of King Mongkut and Queen Thepsirin, which I digitally restored, holds historical significance as one of the earliest visual records of Siamese royalty. These images were instrumental in shaping international perceptions of Siam during a time when visual documentation was becoming increasingly important in global diplomacy.

Recreating Early Rama VI Era Fashion (1910–1920) by Training an AI Model: A Journey of Patience and Precision

Recreating the fashion of the early Rama VI era (1910–1920) through AI is both a creative and historically significant endeavour. The era’s unique blend of Thai and Western styles posed significant challenges, but the results are immensely rewarding. In this article, I’ll share my workflow, breaking it down step-by-step, to showcase how I trained an AI model to authentically recreate this fascinating period of Thai fashion.

The early Rama VI era was characterised by a hybridisation of styles. Women wore chong kraben (a traditional lower garment) paired with tailored blouses inspired by Edwardian fashion but adapted to Thai traditions. Accessories such as lace details, belts, and jewellery, combined with upswept hairstyles adorned with combs or floral accents, highlighted the era’s elegance. These nuanced elements required an AI model trained with patience and meticulous historical references to accurately capture the essence of this period.

One of the unique challenges of this endeavour lies in the distinct characteristics of Thai fashion during the reign of King Rama VI. The era was marked by a fascinating hybridisation of Western and Thai styles. Women often wore elaborate chong kraben (a traditional lower garment) paired with tailored blouses, inspired by Edwardian fashion but adjusted to suit Thai tastes and traditions. The silhouette featured a blend of Western corseted forms and looser Thai designs, while accessories like belts, jewellery, and lace details added layers of sophistication. Hairstyles, too, reflected a transitional period, with upswept buns adorned with decorative combs or floral accents, echoing both Thai traditions and Western influences.

Sir Gerald Festus Kelly and the Legacy of Sao Ohn Nyunt: A Vision of Burma’s Lost Independence

Sir Gerald Festus Kelly (1879–1972) found profound inspiration in Burma (Myanmar), a country that shaped much of his artistic career. In 1908, he journeyed to Burma and created early masterpieces capturing the nation’s vibrant culture through paintings of Burmese dancers and landscapes. Over two decades later, his encounter with Sao Ohn Nyunt (เจ้านางอ่องยุ้นท์) in London inspired a series of portraits that have since become cultural icons.

In 1931, Sao Ohn Nyunt, a princess of Shan State, accompanied her brother-in-law, Sao Ohn Kya (เสืออุ่งจ่า), Saopha of Hsipaw, and her sister, Mahadevi Sunanda (มหาเทวีสุนันทา), to London for the Round Table Conference at St. James’s Palace. The conference, held on 12 January 1932, sought to discuss Burma’s future governance as a federal state. Sao Ohn Nyunt’s beauty and grace captivated Sir Gerald, who requested her to sit as a model for a series of portraits.

Sir Gerald painted eight iconic portraits of Sao Ohn Nyunt, imagining her in traditional Burmese attire. One particularly renowned painting depicts her seated on a green velvet cushion, dressed in an ivory silk blouse and golden htamein, her hair adorned with gardenia blossoms. This portrait earned her the title “Mona Lisa of Asia” and remains a timeless testament to her elegance.

Inspired by Sir Gerald Kelly’s paintings of Cambodian dancers, I have reimagined his sitters using AI technology to explore his work in alternative medium and to bring to life his sitters from 1936. These AI renderings aim to bridge historical artistry with modern innovation, offering a new lens through which to appreciate his timeless work.

Sir Gerald Kelly, a renowned British portrait artist, is celebrated for his mesmerising depictions of Burmese dancers, which have become iconic in the art world. In honour of his extraordinary legacy, I have reimagined his artworks using AI enhancement, transforming them into realistic photographic interpretations that retain their original aesthetic. This collection breathes life into Kelly’s sitters, enabling us to visualise how Ma Si Gyaw and other dancers might have looked in real life. By blending traditional artistry with modern technology, this collection offers a fresh lens through which to appreciate Kelly’s invaluable contribution to art history.

The colourised images provide a vivid portrayal of Rangoon in 1908 under British colonial administration, originally captured by the Stereo Travel Company. The company was renowned during the late 19th and early 20th centuries for producing stereoscopic photographs, a popular medium for experiencing faraway lands in three-dimensional detail. These images were part of a broader movement that catered to Western audiences eager to explore the "exotic" corners of the British Empire from the comfort of their homes. Burma, as part of British India at the time (from 1886 to 1937), was frequently featured in such collections, showcasing its landscapes, bustling cities, and diverse cultures.

By the time these photographs were taken, stereoscopic views had become a key form of popular entertainment, often sold in sets alongside stereoscopic viewers. The images offered an immersive glimpse into colonial life, blending visual appeal with subtle imperialist narratives, as they highlighted the economic activity, cultural diversity, and administrative control of the British Empire. Burma, and specifically Rangoon, was portrayed as an industrious hub at the crossroads of commerce, migration, and colonial governance.

In 1857, Mom Rachothai joined the diplomatic mission to England, delivering royal letters and gifts to Queen Victoria. This journey inspired him to write Nirat London, a travelogue in poetic form. The work captures his observations, emotions, and reflections on his voyage and experiences in England, providing a rare glimpse into how Siamese people perceived the Western world during that era. It remains a unique and historically significant piece of literature.

The First Miss Siam Contest and the Stunning AI Renderings of the First Five Winners

In 1934, the Ministry of Interior hosted the inaugural "Miss Siam" contest at Saranrom Park, which at the time served as a key venue for the People's Party. The contest was part of the second-anniversary celebrations of the 1932 Constitution, aiming to crown the nation’s most beautiful woman and to create a platform for women to express their identity in a modernising society. The event gained widespread attention, with nearly every province sending their representatives to Bangkok.

The first Miss Siam in history, Kanya Thiansawang, was awarded a range of prestigious prizes, including a silver crown adorned with diamonds and covered in velvet with silver embroidery, a gold locket, a personalised silver bowl, and 1,000 baht in cash. Over time, the contest became a symbol of democracy and gender equality in that era.

Due to the impact of World War II, the Miss Siam contest could not continue uninterrupted and eventually ended in 1954.