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 These nuanced elements required an AI model trained with patience and meticulous historical references to accurately capture the essence of this period.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.

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.