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.

Chao Chom Erb Bunnag’s photography often depicted such cultural nuances. These images, staged yet intimate, reflect the Siamese elites’ fascination with modernity, aligning with Western aesthetics while showcasing ethnic diversity within the royal court. The mirrors and dressing table not only enhance the aesthetic appeal but also serve to frame Dara Rasami's cultural and feminine individuality, juxtaposing her Northern traditions against Bangkok's evolving notions of siwilai (civilisation).

The colourised and AI-enhanced version of one photograph transforms it into a lifelike representation, bridging the historical past with modern technology. This approach underscores the importance of preserving and reinterpreting historical imagery.