Edwardian Fashion’s Influence on Siamese Court Dress During King Rama VI’s Reign

During the reign of King Rama VI (1910–1925), Siamese court dress underwent a significant transformation, blending traditional Thai elements with Western influences, particularly from Edwardian Britain. This shift was largely driven by the king himself, who was educated in Britain at Eton College and Oxford University, where he was exposed to British aristocratic culture, military traditions, and court formalities. Upon ascending the throne, he sought to modernise Siam’s elite dress and ceremonial customs, reinforcing Western-style etiquette and court dress codes among the aristocracy and royal family. His vision was to present Siam as a progressive nation, aligning its court culture with those of European monarchies while maintaining distinct Thai identity.

Men’s Court Attire: A Formal European Influence

Men’s court attire during this period reflected British and European diplomatic and military uniforms. High-ranking officials and courtiers wore black tailcoats or military-style embroidered jackets with elaborate gold detailing, a clear nod to European aristocratic traditions. White knee-length breeches, silk stockings, and polished black court shoesbecame standard, aligning with formal attire in European courts. Medals, sashes, and royal orders were prominently displayed, similar to British and continental European court dress, with ceremonial swords signifying rank and service to the monarchy. King Rama VI further codified the khrui, a traditional Siamese ceremonial robe, in 1912, assigning specific styles to royal and government officials. These changes reinforced formality and structure in court attire, mirroring Western sartorial standards.

Women’s Court Dress: A Blend of Thai Elegance and Edwardian Sophistication

Women’s court dress during King Rama VI’s reign retained traditional Thai silhouettes but was increasingly influenced by Edwardian British fashion. The rigid, high-collared blouses of previous decades evolved into looser lace blouses with three-quarter sleeves, often adorned with fine embroidery, reflecting Edwardian trends. Necklines were slightly lower, a subtle Western influence, while the chong kraben (pleated silk trousers) remained the standard lower garment. Paired with sabai (draped silk shawls), this ensemble balanced Thai tradition with European sophistication. Women wore their hair in long, elegant updos, often adorned with tiaras or bandeaux, similar to British aristocratic styles. This fusion of styles presented Siamese noblewomen as both culturally refined and modern.

Court Dress Uniform in the Reign of King Vajiravudh (Rama VI)

During the reign of King Vajiravudh (1910–1925), the Siamese court underwent significant Westernisation, particularly in terms of court dress, military uniforms, and ceremonial attire. This transformation was largely influenced by his education in England.

He was educated in England from a young age, attending Eton College (1893–1895) before undergoing military training at the Royal Military Academy Sandhurst (1895–1899) and later studying at Christ Church, Oxford University (1899–1901). However, he did not complete his studies, as he had to return to Siam in 1901 due to the serious illness of his father, King Chulalongkorn (Rama V).

In 1901, King Chulalongkorn suffered from chronic fatigue, a condition likely caused by his heavy royal duties, accumulated stress, and possibly diabetes or kidney disease. Although his health improved at times, he continued to decline until he passed away in 1910, leading to the ascension of Crown Prince Vajiravudh as King Rama VI.

King Vajiravudh’s experience in England, particularly his British military training and governance studies, profoundly influenced his vision of modernising Siam. This was clearly reflected in the transformation of court dress, which was heavily influenced by the dress codes of the British and European royal courts.

British and European Influence

• The adoption of Western-style court uniforms in Siam began in the late 19th century, particularly under King Chulalongkorn (Rama V), but it became fully institutionalised during the reign of King Vajiravudh.

• The British court dress system, particularly full-dress military uniforms and civil service attire, served as the primary inspiration.

• European-style orders, decorations, and sashes became symbols of rank and royal favour.

The Role of Court Dress in Early 20th-Century Siam

In the early 20th-century Siamese court, court dress had a deeper meaning beyond ceremonial attire—it was a symbol of status, hierarchy, and allegiance to the monarchy.

• It was worn by royals, ministers, high-ranking officials, and military officers during state occasions, royal audiences, and official court functions.

• Court uniforms reflected the Westernisation of the Siamese elite, reinforcing Siam’s position as a modern and civilised nation in the eyes of Western powers.

Imagining Art Deco Bangkok: Western Fashion in a Thai World

Imagine Bangkok in the early reign of King Rama VII, in a parallel world where Thai society fully embraced Western fashion. This collection showcases 1920s Art Deco beauty through dresses adorned with intricate embroidery, soft pastel tones, and jewel-like details, inspired by renowned designers like Paul Poiret and Jeanne Lanvin. This style reflects the luxury and elegance of the era within a Western context, fitting seamlessly with Bangkok’s atmosphere, especially the Western-inspired architecture of Hua Lamphong Station. In this imagined scene, Thai society adopts Western fashion fully, creating a refined and modern alternative in Thailand’s fashion history.

1920s Siamese Fashion: The Foundation of Modern Thai Dress

The 1920s marked a period of significant fashion transformation in Siam, bridging the reigns of King Rama VI (1910–1925) and King Rama VII (1925–1935). This era saw a fusion of traditional Siamese attire and Western influences, particularly in urban areas where foreign visitors and trade played a role in shaping styles. Men adapted to Western fashion more quickly, transitioning from jong kraben to trousers, collared shirts, and suits, while women gradually moved towards the simple blouse and pha-sin look, which became the defining silhouette of the era.

By the late 1920s, the stable pha-sin look had fully taken root, replacing jong kraben as everyday wear for most women. The knee-length or slightly longer tubular silhouette echoed global flapper fashion while maintaining Thai textile traditions. Meanwhile, men in government and business had almost entirely adopted Western suits. However, a mixture of styles remained, as traditional Siamese outfits, Thai-adapted flapper fashion, and full Western ensembles coexisted in the capital.

These are some samples of 50 photographs used to train an AI model on Thai fashion from the 1920s–1930s.

This dataset was used to train an AI fashion model based on the styles of this period during the reign of King Rama VII. The images were colourised from original black-and-white photographs and enhanced with AI to improve clarity and achieve a three-dimensional quality before training the model.

By applying AI, we can now colourise photographs much faster than manually rendering them in Photoshop. While the results may not always be perfect and manual adjustments to clothing colours are sometimes necessary, for AI training, the key requirement is that the images are in colour and have sufficient clarity. Once the model is trained, we can refine the results using prompts to adjust clothing colours and details as needed.

Using original period photographs ensures greater accuracy in capturing the silhouette and authentic styles of clothing worn at that time. Another crucial aspect is the consistency of hairstyles, which must accurately reflect the era. This helps the AI-generated fashion results remain historically accurate and visually realistic.

นี่คือตัวอย่างภาพถ่าย 50 ภาพที่ใช้ในการฝึกโมเดล AI เกี่ยวกับแฟชั่นไทยในช่วงทศวรรษ 1920–1930

ชุดข้อมูลนี้ถูกใช้ในการฝึกโมเดล AI ด้านแฟชั่นของช่วงเวลาดังกล่าวในรัชสมัยพระบาทสมเด็จพระปกเกล้าเจ้าอยู่หัว โดยภาพเหล่านี้ได้รับการเติมสีจากภาพถ่ายขาวดำต้นฉบับและผ่านการปรับปรุงด้วย AI เพื่อให้มีคุณภาพที่คมชัดและมีมิติคล้ายสามมิติก่อนนำไปฝึกโมเดล

ด้วยการประยุกต์ใช้ AI เราสามารถใช้โมเดลเหล่านี้ในการเติมสีให้กับภาพถ่ายได้รวดเร็วขึ้นกว่าการลงสีด้วยมือใน Photoshop แม้ว่าผลลัพธ์อาจไม่สมบูรณ์แบบเสมอไปและจำเป็นต้องปรับแต่งสีของเสื้อผ้าแบบแมนนวล แต่สำหรับการฝึก AI แล้ว สิ่งสำคัญคือภาพต้องเป็นภาพสีและมีความคมชัดเพียงพอ เมื่อโมเดลได้รับการฝึกแล้ว เราสามารถใช้คำสั่ง (prompts) เพื่อปรับแต่งสีและรายละเอียดของเสื้อผ้าได้ตามต้องการ

การใช้ภาพถ่ายต้นฉบับจากยุคสมัยนั้นช่วยให้ได้ผลลัพธ์ที่แม่นยำในเรื่องของรูปทรง (silhouette) และสไตล์ของเสื้อผ้าที่แท้จริงในช่วงเวลานั้น อีกสิ่งที่สำคัญไม่แพ้กันคือทรงผม ซึ่งต้องมีความถูกต้องและสอดคล้องกับยุคสมัย เพื่อให้แฟชั่นที่ได้จากโมเดล AI มีความสมจริงและใกล้เคียงกับประวัติศาสตร์มากที่สุด

Thai Women's Fashion in the 1940s: A Hybrid of Tradition and Western Influence

During the Second World War, Thailand experienced significant austerity, making Western clothing a luxury. Ready-to-wear garments were not widely available, and most Western-style clothing had to be custom-made by dressmakers, which was expensive and time-consuming. As a result, many women incorporated Western elements into their attire while retaining practical aspects of traditional Thai dress.

Thai Women's Fashion in the 1940s: The Blend of Western and Traditional Styles Under Plaek Phibunsongkhram’s Modernisation Policy

During World War II, Thailand was under the "Cultural Mandates" of Field Marshal Plaek Phibunsongkhram, which encouraged the adoption of Western-style clothing, especially in major cities. However, this transformation did not occur uniformly across the country. Thai women's fashion in the 1940s can be categorised into three distinct styles, reflecting social, cultural, and economic differences.

Fashioning the Nation: Thailand’s 1940s Style Transformation under Phibunsongkhram and the "Hat Leads the Nation" Campaign

The reign of King Ananda Mahidol (Rama VIII) (r. 1935-1946) marked a turning point for the Thai monarchy, following the 1932 revolution that transitioned the country from an absolute monarchy to a constitutional one. This political shift was cemented by the abdication of King Rama VII in 1935, leading to the ascension of King Ananda Mahidol. His reign, spanning from 1935 until his untimely passing in 1946, was largely symbolic, as executive authority had shifted to the elected government. This transformation was accompanied by sweeping cultural changes, including state-led modernisation efforts.

Under the leadership of Field Marshal Plaek Phibunsongkhram, Westernisation became a key element of national identity, influencing multiple aspects of Thai society, particularly fashion. While the monarchy no longer held absolute power, it remained a unifying symbol of the nation. King Ananda’s return from his studies in Europe reflected this new era of modernisation and the monarchy’s adaptation to the evolving political landscape. Though his role in governance was limited, his reign represented the monarchy’s transition under the constitutional system and mirrored the broader social changes occurring in Thailand, including the state-enforced fashion reforms that sought to cultivate a modern, Westernised national image.

Nationalism and Fashion Reform

When Phibunsongkhram became Prime Minister in 1941, he introduced a series of policies aimed at modernising Thailand. At the heart of these reforms was the desire to cultivate a strong, unified national identity, distinct from colonial influences. A central aspect of this vision was the promotion of new dress codes. As part of the broader push for modernisation, the government launched a campaign encouraging Thai citizens, particularly women, to abandon traditional garments like the sarong in favour of more Western-style clothing, such as skirts and dresses, which were deemed more ‘civilised’ and aligned with international norms.

This period also saw the government actively promote the wearing of hats by women as part of their daily attire. The "Hat Leads the Nation" campaign encouraged Thai women to wear hats as symbols of national pride, civility, and progress. The hat became a symbol of Thai modernity, and its adoption was promoted across social classes as a way to demonstrate the nation’s emerging global status.

The Enduring Flapper Silhouette in Early 1930s Siam: A Reflection of Change

In the early 1930s, Siamese women’s fashion was deeply influenced by the lingering elegance of the 1920s flapper silhouette, adapted to local traditions through the pairing of the pha-sin (ผ้าซิ่น) with long, loose-fitting blouses. This hybrid style became the defining look of modern urban women, particularly among the emerging middle class and elite. The reign of King Prajadhipok (Rama VII) from 1925 to 1935 saw the peak of this style, coinciding with a period of political and societal transformation that would reshape Siamese identity.

Fashion as a Marker of Cultural Shift

The transition into the 1930s saw Siamese women embracing the softened, modest interpretation of Western trends while preserving traditional elements. The straight-cut, drop-waisted look of the 1920s flapper era persisted, but instead of short skirts, Siamese women continued to wear their ankle-length pha-sin, now often woven in fine silk or cotton with delicate floral and geometric motifs. These skirts were paired with boxy or slightly tailored blouses, sometimes adorned with sailor collars, lace trims, or subtle embroidery. The choice of light fabrics reflected both the tropical climate and the evolving role of women in society—practical yet refined, modern yet grounded in tradition.

During this time, Western-style shoes—low-heeled pumps, Mary Janes, or simple black flats—had become the standard for urban women, especially in Bangkok and major towns. In everyday life, open-toe sandals and flip-flops were also commonly worn, reflecting the practical adaptation to the tropical climate.

The early reign of King Vajiravudh (Rama VI) marked a period of transformation in women’s fashion in Siam, influenced by Western trends, particularly Late Edwardian fashion, which gradually evolved into the Teens era (1911-1919, aligning with the years ending in -11 to -19, much like the term teenager in English). Upper-class women and the royal court in Siam began to integrate European styles with Thai aesthetics in a refined manner. AI-generated images, based on historical Siamese photographs and Edwardian fashion sources, beautifully illustrate this evolution. While the garments retained Western silhouettes and detailing, they incorporated Thai elements such as diagonal sashes, chongkraben, and royal court accessories, resulting in a uniquely hybridised style.

While Western Edwardian fashion in the late 1910s featured lightweight fabrics, sheer overlays, and softly draped gowns, transitioning away from rigid structures, Siamese fashion of the same period retained chongkraben as a key component, often paired with delicate lace blouses or silk tops influenced by European styles. AI-generated representations may not always depict chongkraben in full detail, but the upper half of the attire still reflects the aesthetics of the Late Edwardian and early Teens era. In the early years of King Rama VI’s reign, high lace collarsremained popular for formal court occasions, mirroring European fashion trends. However, as Western styles evolved, modern Siamese women, particularly those educated abroad or involved in European-style social events, embraced lower necklines and fluid draped fabrics, which became hallmarks of the Teens era.

Pastel Tones as an Artistic Interpretation

This AI-generated collection has been designed in pastel tones as a deliberate artistic interpretation. Utilising pastel tones in this collection evokes feelings of romance and modernity, aligning well with the themes of evolving social norms and intimate companionship depicted in this work.

Pastel hues are often associated with sentimentality, renewal, and tenderness, making them a fitting choice to reinterpret early 20th-century Siamese studio portraiture. While traditional Siamese photography typically featured monochrome or sepia tones, this collection reimagines these historical moments with soft, delicate colours that enhance the emotional depth of the subjects.

Pastels are also frequently linked to expressions of love and devotion, making them particularly suited to portrayals of couples. February, widely recognised for Valentine’s Day, embraces soft, romantic colours, reinforcing the sentiment of companionship and modern relationships. By applying pastel hues to this collection, the images subtly highlight the transition from traditional family structures to Western-influenced monogamous ideals, adding a layer of warmth and contemporary artistic vision.

Early 20th-Century Siamese Fashion: Adaptation and Western Influence

During the late 19th and early 20th centuries, Siam experienced significant social and cultural transformations, particularly through interactions with Western powers. European diplomatic customs, Victorian fashion, and British-educated elites influenced the visual representation of status and modernity, leading to shifts in how the Siamese elite dressed and presented themselves.

Men’s Fashion: Attire as a Symbol of Modernity

Men’s fashion during this period was directly influenced by European military and bureaucratic uniforms. The Raj pattern jacket, typically white with a Mandarin collar and gold buttons, became a symbol of modern governance and refinement. It was commonly worn with chong kraben or silk trousers, while aristocrats and high-ranking officials often accessorised with pocket watches or ceremonial sashes to emphasise their alignment with progressive ideals.

The noblewomen of Luang Prabang’s Royal Court embodied sophistication through their ceremonial attire, blending traditional Lao textiles with influences from China and India. Their fashion, marked by meticulous craftsmanship and cultural symbolism, reflected rank, occasion, and the rich heritage of the Lan Xang Hom Khao kingdom.

The Signature Attire: "Salabap" and the Elegance of Overlapping Panels

The defining feature of noblewomen’s attire was the "Salabap", a fitted long-sleeved blouse with overlapping front panels, often crafted from fine silk and adorned with intricate embroidery in gold or silver thread. The embroidery patterns included floral and geometric motifs, inspired by Chinese and Indian textile traditions, signifying status and artistic refinement.

This was paired with the Sinh (Phra Phusa), a traditional silk wrap skirt, meticulously woven with metallic threads to create shimmering effects. Colours such as deep blue, royal purple, emerald green, and maroon were favoured, symbolising wisdom, prosperity, and spiritual significance. The combination of Salabap and Sinh defined the court’s distinctive aesthetic, differentiating it from other Lao regions.

Siam’s transition to Western clothing was not merely aesthetic but deeply tied to geopolitical survival. As European colonial powers expanded in Southeast Asia, adopting Western attire signified Siam’s sovereignty and modernity. The ruling elite deliberately aligned with European dress codes to counter colonial narratives that depicted non-Western nations as ‘uncivilised.’ The widespread adoption of structured uniforms, hats, and footwear reinforced Siam’s image as a progressive, sovereign kingdom that could stand on equal footing with European powers. This period marked a significant turning point in Siamese fashion, where traditional elements blended with European aesthetics to reflect a rapidly modernising society. The Rāja tunic, Jong Kraben, European hats, moustaches, walking sticks, and stockings were not just fashion choices but powerful symbols of a new era in Siamese governance and masculinity.

Was Black the Traditional Mourning Colour?

In traditional Thai customs, the primary mourning colour was white, particularly for funeral ceremonies, especially those of the monarchy and nobility. In the past, mourning practices also included shaving one’s head as a sign of deep grief and respect for the deceased monarch.

However, in the late 19th and early 20th centuries, black began to emerge as a mourning colour in the Thai royal court, influenced by Western mourning traditions. This period coincided with Thailand’s modernisation under King Chulalongkorn (Rama V).

The use of black mourning attire in royal funerals was first introduced during the reign of King Mongkut (Rama IV)and later became standard in the Thai royal court after King Chulalongkorn passed away in 1910 (B.E. 2453).

Fashion of Senior Ladies of the Inner Court during the Reign of King Chulalongkorn: Developing AI for Realistic Image Generation

I have created AI-generated fashion images across various eras, but I rarely focus on older women’s fashion. This time, I explored the fashion of senior ladies of the inner court during the reign of King Rama V. Most of them were likely royal daughters of King Rama IV or early consorts during the early reign of King Rama V. Their clothing was influenced by Edwardian and late Victorian fashion, evident in the high-necked blouses adorned with lace and gold embroidery, which were popular in European royal courts. Meanwhile, the traditional Thai wrap skirt (pha nung) retained its authenticity, featuring luxurious brocade or silk fabrics in deep navy, silver, and gold—colours often associated with high-ranking court ladies.

AI Development Process and Achieving Realism

To accurately depict senior ladies of the inner court, the AI models had to be trained meticulously to understand clothing structures, body proportions, traditional hairstyles, and facial expressions that reflect their noble status. Special attention was given to the traditional updo hairstyles, the placement of royal decorations, and the draping of sashes and medals to ensure authenticity.

Long Hair and Pha-Sin: Siamese Women’s Fashion During the Mid Reign of King Vajiravudh (1915–1920)

During the mid-reign of King Vajiravudh (Rama VI, 1915–1920), the fashion of Siamese aristocratic women evolved alongside global trends. Post-war styles gradually merged with the late Teens fashion era (1915–1919), which emphasised simplicity, a straight silhouette, lower waistlines, and shorter skirts that no longer reached the floor. This transformation reflected the global shift towards a modern aesthetic that prioritised mobility and practicality in women’s everyday attire.

During the reign of King Vajiravudh (Rama VI, 1910–1925), the fashion of Siamese aristocratic women evolved alongside global trends. Late Edwardian styles gradually merged with the Teens fashion era (1911–1919), which embraced simpler, more fluid silhouettes. While Western tailoring remained influential, Thai women adapted elements to suit their traditions, incorporating draped fabrics in place of the traditional shoulder sash (sabais) while continuing to wear jong kraben and elegant jewellery that reflected their noble status.

Western women’s fashion at the time transitioned from high-necked blouses to wide-necked, lace-adorned designs with three-quarter sleeves, offering both comfort and sophistication. These garments, known as lingerie blouses, were often made from muslin or delicately embroidered cotton. Their airy and graceful aesthetic gained popularity worldwide, including in Siam, where women integrated them with traditional attire. Hairstyles also reflected Western influences, with women favouring meticulously styled updos. A common look featured soft curls framing the face, leading to a high chignon or leaving the ends gently curled at the back. Some variations incorporated pearl headbands, jewelled hairpins, or ribbons, enhancing their regal and elegant appearance.

Siamese Women's Fashion in the 1910s ‘The Late Edwardian Style’: A Fusion of Western Style and Thai Identity

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. These garments, known as lingerie blouses, were typically made from muslin or finely embroidered cotton. Their airy and graceful aesthetic influenced fashion worldwide, including in Siam, where women adapted them to complement traditional attire.

Hairstyles also reflected Western influences, with women favouring neatly styled updos that paired well with delicate lace-trimmed blouses, enhancing a sophisticated and modern look. Rather than fully adopting Western dress, Siamese women integrated Edwardian-style blouses with jong kraben, the traditional Thai wraparound lower garment. This fusion created an ensemble that embodied both Western refinement and Thai heritage. The lightweight fabrics suited the tropical climate, while lace and embroidery showcased the intricacy of Thai textile craftsmanship.

A Transition to a New Era

During the reign of King Vajiravudh (Rama VI, 1910–1925), the fashion of Siamese aristocratic women evolved alongside global trends. Late Edwardian styles gradually blended into the Teens fashion era (1910–1919), which embraced simpler and more flowing silhouettes. While retaining Western tailoring influences, Thai women adapted the styles by incorporating draped fabrics in place of the traditional shoulder sash (sabais), while maintaining the use of jong kraben and regal jewellery.

Men’s fashion also reflected Western influences. The Raj pattern jacket (Ratcha Pratan), inspired by Indian court attire, became a standard uniform for government officials and was commonly worn with jong kraben. The colours of these garments often signified official ranks, with navy blue (si kram tha) denoting positions in the Ministry of Finance and Foreign Affairs.

A Unique Cultural Synthesis

Siamese women’s fashion in the 1910s exemplified a seamless fusion of Western modernity and traditional Thai identity. Although European styles influenced their attire, the jong kraben remained a fundamental element of dress. AI-generated images vividly illustrate this cultural synthesis, portraying how Siamese women adapted Western trends while preserving their heritage. This era represents a fascinating moment in Siamese fashion history, marking a transition between tradition and modernity.

Tai Khün or Tai Khün Textiles

Tai Khün textiles share similarities with Tai Lü textiles. Tai Khün women traditionally wear a Seua Pad (เสื้อปั้ด), a fitted, cropped, long-sleeved blouse, along with a Sin Ta (ซิ่นตา), a woven tubular skirt with horizontal stripes. The skirt is sewn with two seams and features a contrasting waistband and hem in solid green, indigo, black, or purple fabric.

During the winter, Tai Khün women wear a Seua Puk (เสื้อปุก), a long-sleeved Seua Pad lined with cotton for warmth, resembling a quilted jacket.

The early reign of King Vajiravudh (Rama VI) marked a period of transformation in women’s fashion in Siam, influenced by Western trends, particularly Late Edwardian fashion, which gradually evolved into the Teens era (1911-1919, aligning with the years ending in -11 to -19, much like the term teenager in English). Upper-class women and the royal court in Siam began to integrate European styles with Thai aesthetics in a refined manner. AI-generated images, based on historical Siamese photographs and Edwardian fashion sources, beautifully illustrate this evolution. While the garments retained Western silhouettes and detailing, they incorporated Thai elements such as diagonal sashes, chongkraben, and royal court accessories, resulting in a uniquely hybridised style.

While Western Edwardian fashion in the late 1910s featured lightweight fabrics, sheer overlays, and softly draped gowns, transitioning away from rigid structures, Siamese fashion of the same period retained chongkraben as a key component, often paired with delicate lace blouses or silk tops influenced by European styles. AI-generated representations may not always depict chongkraben in full detail, but the upper half of the attire still reflects the aesthetics of the Late Edwardian and early Teens era. In the early years of King Rama VI’s reign, high lace collarsremained popular for formal court occasions, mirroring European fashion trends. However, as Western styles evolved, modern Siamese women, particularly those educated abroad or involved in European-style social events, embraced lower necklines and fluid draped fabrics, which became hallmarks of the Teens era.

The AI-enhanced images offer a fascinating glimpse into how Siamese women of the early Rama VI era might have fully embraced Teens-era fashion, merging it with their own heritage. The gradual shift from high-collared blouses to lower necklines, the rise of upswept Western-inspired hairstyles, and the continued presence of chongkraben and Thai embellishments reflect a society in transition. This era of Thai fashion was not merely an imitation of Western trends but an artistic and cultural dialogue, resulting in an elegant, globally influenced style that remained deeply rooted in Siamese identity.