This is my workflow for training an AI model to create fashion representations from the early reign of King Rama VI (1910–1925). I have focused on the early period (1910–1915), which was still influenced by late Edwardian fashion. The defining elements of this era's fashion include intricate women's blouses and distinctive hairstyles.

Although Thai women of this era commonly wore blouses paired with chongkraben (traditional wrap pants), I have selected Western original images as reference points to achieve a more accurate silhouette. During the AI training process, I will combine colourised photographs of Thai fashion from the Rama VI era (sourced from the National Archives of Thailand) with Western original fashion images. This approach ensures the best results in terms of both historical accuracy and realistic period silhouettes.

During the later reign of King Chulalongkorn (Rama V) around 1900, Thai women’s fashion transitioned from the extravagant leg-of-mutton sleeves of the 1890s to a more refined silhouette. Sleeves returned to a natural size, while the high collar neckline, popularised by Queen Alexandra of England, became a dominant feature. Blouses, often made of lace or silk, were structured yet delicate, following Western influences. These were typically paired with the สไบจีบ (Sabai Jeep), a pleated shawl draped diagonally across the body, adding a distinct Thai refinement to the attire. The lower garment remained the ผ้านุ่ง (phaa nung) or โจงกระเบน (chong kraben), with silk and fine brocade materials used for formal occasions.

Men’s fashion was largely defined by the เสื้อราชประแตน (Raj-Pattern shirt), a high-collared, buttoned-front shirt introduced after King Chulalongkorn’s visit to India in 1873. Originally inspired by Indian court dress, it became standard attire for government officials and aristocrats. The Raj-Pattern shirt was always paired with โจงกระเบน (chong kraben), a traditional lower garment neatly folded and tucked. The colour of chong kraben often signified an individual’s governmental department. A notable example was สีกรมท่า (Si Krom Tha)—a deep navy blue worn by officials of Krommathā (Department of Financial and Foreign Affairs). This association led to สีกรมท่า becoming a recognised term for navy blue in Thai. Other official shades included สีขาบ and สีน้ำเงินแก่, which were similarly dark blue and linked to governance.

Women’s hairstyles remained short. The ทรงดอกกระทุ่ม (Song Dok Krathum) was particularly popular, featuring a short, rounded bob resembling the krathum flower. Siamese women wore their hair short; only Lao or Lanna women kept their hair long and often wore ผ้าซิ่น (pha-sin), the tubular skirt, instead of โจงกระเบน (chong kraben). Some young and modern girls also started to wear their hair long and began styling it in upswept Western-inspired hairstyles, reflecting changing fashion influences.

During the 1910s, Western women's fashion transitioned from high-necked blouses to wide-necked, lace-adorned blouses with three-quarter sleeves, offering greater comfort and elegance. Known as "lingerie blouses," these garments were typically made of muslin or fine cotton with delicate embroidery and pintucks. Their lightweight, airy aesthetic influenced fashion worldwide, including in Siam, where women adapted them to complement their traditional attire.

Siamese women had embraced short hairstyles since the early Rattanakosin era, in contrast to Western women, who often wore elaborate updos. The "Dok Krathum" hairstyle, popular since the mid-19th century, was valued for its practicality and suitability for the hot climate. By the 1910s, this short hairstyle perfectly complemented the soft, lace-trimmed blouses, creating a look that was both modern and distinctly Siamese.

Rather than fully adopting Western fashion, Siamese women paired Edwardian-style blouses with traditional chong kraben, a wrapped lower garment. This fusion balanced Western sophistication with Thai identity, as the lightweight fabrics suited the tropical climate, while the lace and embroidery echoed the craftsmanship found in traditional Thai textiles. This combination became a signature look among Siam’s elite women.

During the early reign of King Chulalongkorn (1868–1880), Siamese fashion underwent significant changes, incorporating Western influences while preserving Thai identity. For men, Western-style shirts, cravats, and bow ties became popular, often paired with jong kraben (wrapped trousers) instead of European-style trousers. Formal occasions called for double-breasted coats, long tailcoats, and frock coats adorned with brass or gold buttons. Footwear shifted from barefoot customs to black leather shoes and white stockings, symbolising nobility and modernity. Hairstyles evolved from the Mahad Thai cropped style to slicked-back or side-parted looks, reflecting European bureaucratic fashion.

Western fashion was adopted as a diplomatic tool to present Siam as a modern nation while retaining elements of Thai tradition, such as jong kraben and Thai silk. This balance allowed the elite to project an image of progress without losing their cultural heritage. The fusion of styles played a crucial role in reinforcing Siam’s sovereignty and status on the global stage.

During the reign of King Rama IV (1851–1868), Siamese noblemen and male members of the royal family embraced a hybrid fashion style that combined Western upper garments with traditional chong kraben (wrapped silk trousers).This sartorial shift was influenced by diplomatic relations with Europe, reflecting Siam’s efforts to modernise while maintaining its distinct cultural identity. Noblemen adopted white soft-collared shirts, often paired with cravats, stocks, or bow ties, replacing the traditional bare chest or silk wrap-around styles.

For formal occasions, noblemen wore waistcoats and Western-style coats, such as double-breasted frock coats, tailcoats, or short front coats adorned with brass buttons. Despite these Western influences, they continued to wear chong kraben instead of European trousers, using luxurious silk fabrics in deep blues, purples, and gold with intricate patterns. A significant departure from tradition was the adoption of white stockings and leather shoes, which contrasted sharply with the barefoot norm of everyday Siamese life. Footwear was a clear marker of status and Western influence, as common people rarely wore shoes outside of royal or elite circles.

As Siam transitioned from the late Ayutthaya period into the early Rattanakosin era, traditional clothing customs remained deeply ingrained in society. For men, the prevailing style consisted of jongkraben (traditional wrap-around trousers) and draped cloth, with the absence of shirts being a common and accepted practice. However, the reign of King Mongkut (Rama IV) marked a pivotal shift in male attire, introducing the widespread adoption of shirts, which significantly altered Siamese fashion norms.

This collection visually explores the transformation of male dress, particularly the introduction of shirts, as influenced by King Mongkut’s reforms. The shift began with his decree requiring court officials to wear shirts during royal audiences, breaking with the long-standing tradition of appearing bare-chested.

In the early Rattanakosin era, Siam was emerging from the turbulence of war and embarking on a period of reconstruction. The cultural fabric of society remained deeply rooted in the traditions of late Ayutthaya, evident in its laws, governance, and notably, its modes of dress. During this time, the prevailing style for men was to don jongkraben(traditional wrap-around trousers) and draped cloth, with the absence of a shirt being customary. However, a decisive shift from these established norms began to take shape during the reign of King Mongkut (Rama IV), heralding a new chapter in Siamese sartorial customs.

King Mongkut introduced a significant reform to the courtly dress code, mandating that officials wear shirts during royal audiences—a departure from the longstanding tradition of shirtlessness. In a royal address, he remarked:

“...One day, court officials assembled at the Royal Pavilion for an audience. At that time, it was customary for attendees to appear without shirts. His Majesty observed that those without shirts seemed almost naked, their bodies marred by blemishes or glistening with perspiration, which he found unsightly and unhygienic. He therefore decreed that henceforth, all who attended court must wear shirts...” (Chronicles of Rattanakosin, King Rama IV, compiled by Chao Phraya Thipakorawong Mahakosathibodi)

ศิลปะแห่งการแต่งกายในราชสำนัก: “นุ่งยกห่มตาด” สมัยรัชกาลที่ ๕

พึ่งเทรนโมเดล AI เสร็จเรียบร้อยครับ! ครั้งนี้ใช้ฐานข้อมูลที่รวบรวมจากรูปภาพสมัยต้นรัชกาลที่ ๕ เพื่อจำลองการแต่งกายแบบราชสำนักในยุคนั้น โดยเฉพาะการ "นุ่งยกห่มตาด" ซึ่งเป็นศิลปะการแต่งกายที่สะท้อนถึงความสง่างามและเอกลักษณ์ของเจ้านายในราชสำนักในช่วงเวลานั้น

อยากชวนเพื่อน ๆ แสดงความคิดเห็น:

รายละเอียดในชุดที่ AI จำลองมานั้นสมจริงแค่ไหน? หรือควรปรับปรุงจุดใดเพิ่มเติม?

ถ้านำรูปแบบการแต่งกายนี้มาปรับใช้ในแฟชั่นสมัยใหม่ เพื่อน ๆ คิดว่าน่าจะเหมาะกับโอกาสแบบไหน?

ภาพตัวอย่างด้านล่างคือผลงานที่ได้จากการสร้างด้วย AI (AI-enhanced creations) หวังว่าจะได้รับคำแนะนำและข้อคิดเห็นดี ๆ จากทุกคนครับ!

ปล. การแต่งกายในยุคนั้นมีรายละเอียดที่น่าสนใจ ตั้งแต่ลวดลายผ้าทอ ไปจนถึงการเลือกสีที่สื่อถึงสถานะในสังคม หากใครมีข้อมูลหรืออยากแชร์ไอเดียเพิ่มเติม สามารถแสดงความคิดเห็นได้เลยครับ!

The attire of women in the royal court during the early Rattanakosin period was an exquisite art form, seamlessly blending elegance with symbolic meaning. Court ladies often adorned themselves with brocade silk or gold-patterned fabrics, meticulously crafted with intricate designs by master artisans. These were complemented by diagonal silk shawls made from embroidered or satin fabrics, expertly folded to create pleats of refined beauty. Hairstyles were styled short on all sides of the head, with a distinctive tuft-like crown at the top and long, flowing, soft strands extending gracefully from the sideburns, further enhancing their delicate and sophisticated appearance. This meticulous attention to detail in dress and grooming went far beyond mere fashion—it served as a powerful symbol of status, grace, and appropriateness for various ceremonial and courtly occasions.

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.