Men's Fashion in the 1960s: Western Influence on Thailand's Fashion Landscape and a Tribute to Mitr Chaibancha

This AI-enhanced collection began as a restoration project aimed at preserving and showcasing the fashion of Mitr Chaibancha (มิตร ชัยบัญชา) in the 1960s. Most of the available photographs of Mitr found online are portrait shots, which, while capturing his charisma, lack full-body images that could provide a clearer understanding of his complete outfits and 1960s men's fashion trends. As a result, studying his clothing choices and overall style was challenging.

To bridge this gap, I undertook a photo restoration and enhancement process, carefully reconstructing and expanding many of his original images into full-body photographs. This approach not only highlights Mitr's personal style but also allows for a deeper exploration of the fashion silhouettes, tailoring, and accessories of the 1960s.

Building upon this restored visual archive, I then trained a LoRA (Low-Rank Adaptation) model using a dataset of complete 1960s men's fashion photographs, ensuring that the AI-generated images accurately reflect the era's distinctive fashion elements. This collection, therefore, is more than just a tribute to Mitr Chaibancha—it is a historical fashion study that brings his style and the aesthetics of 1960s Thailand back to life through AI-driven restoration and creative exploration.

The 1960s represented a revolutionary period in global men's fashion, witnessing dramatic transformation from conservative styles to bold expressions of individuality. This fashion revolution extended globally, reaching Thailand where Western influences became increasingly prominent while still negotiating with traditional Thai elements. At the centre of Thailand's cultural landscape during this vibrant era stood Mitr Chaibancha (มิตร ชัยบัญชา), the legendary actor whose fashion sense, charisma, and tragic death cemented his status as Thailand's most beloved film star of all time. His influence on Thai fashion and culture transcended his films, creating a legacy that continues to resonate in Thailand today.

The Evolution of Men's Fashion in the 1960s

The early 1960s saw a continuation of 1950s hairstyles, including crew cuts and pompadours, reflecting the lingering influence of Rock and Roll culture. However, as British bands like The Beatles and The Rolling Stones gained international acclaim, a significant shift toward longer, more relaxed hairstyles began to take hold. The Beatles, with their distinctive "mop-top" haircuts, marked the beginning of this transformation, influencing young men worldwide to adopt fuller, more natural hairstyles.

The influence of British music bands on 1960s men's hairstyles was undeniable. These bands not only provided the soundtrack of the era but also served as style icons, shaping how men chose to express themselves through their appearance. While The Beatles popularised the neat mop-top look, The Rolling Stones brought a more rebellious edge to men's fashion. Members of the band, especially Mick Jagger and Keith Richards, sported longer and messier hair, a stark contrast to the clean-cut Beatles. This style became known as the "shag" and embodied the spirit of rock 'n' roll rebellion, encouraging men to embrace a more carefree and wild appearance.

The Rise of Mod Fashion

Perhaps the most significant fashion movement to emerge during this era was the Mod (short for "Modernists") style that originated in Britain. First introduced to American youth in 1964 by British pop bands appearing on television programmes like The Ed Sullivan Show, Mod fashion quickly spread globally, including to Thailand.

The Mod look was characterised by its clean lines and sharp silhouettes. The 1960s mod look mixed skinny rib body shirts, turtlenecks, mod print jumpers in vibrant colours, dress shirts in bold stripes or big prints, skin-tight low waist trousers with a small flare, fitted blazers in rich fabrics (velvet, silk, damask), and skinny ties or silk neckerchiefs in bright solid colours. Attention to detail was the hallmark of a Mod suit, featuring eye-catching linings, 3-button fastening, side vents, ticket pockets, button detailing, notch lapels, and a slim silhouette.

Men's suits underwent a significant transformation during this period. Traditional, conservative suits gave way to more experimental designs featuring narrow lapels, slim-cut jackets with three or four buttons (rather than the traditional two), and sharkskin (two-tone mohair with a shine) materials. The "skinny suit" became emblematic of the era, with slim silhouettes replacing the looser, more comfortable cuts of previous decades.

🌼 Western 1960s Fashion & Flower Power in Mon Rak Luk Thung (1970): A Tribute to Thailand’s Fashion Influence 🌼

The 1960s was an era of transformation in both fashion and cinema, and Thailand was no exception to the global style revolution. While Mon Rak Luk Thung (1970) is celebrated as a classic Thai rural romance, it also serves as a fascinating snapshot of how Western fashion trends made their way into Thailand during this vibrant decade.

For this collection, I wanted to pay tribute to Western 1960s fashion, particularly the Flower Power movement, mod style, and the playful spirit of the era, which had a profound influence on Thai fashion at the time. The result is a reinterpretation of 1960s fashion through a bright, colourful, and cinematic lens, reflecting the global trends that shaped Thailand’s fashion identity.

Here are some images from the collection, showcasing how the bold prints, vibrant hues, and iconic silhouettes of Western 1960s fashion could be imagined in a Mon Rak Luk Thung-inspired setting.

🎬 The 1960s: A Decade of Western Fashion Revolution

The 1960s saw a dramatic shift in Western fashion, breaking away from the conservative styles of the previous decade. The rise of mod culture in London, the hippie movement in San Francisco, and high-fashion trends from Paris and Milan brought about a wave of youthful energy, bold prints, and experimental silhouettes.

Key Western Fashion Trends of the 1960s:

✨ Mini & Midi Dresses – Hemlines got shorter, with A-line mini dresses, mod shift dresses, and empire waistlinesdefining the era.
🌼 Floral & Psychedelic Prints – Inspired by the Flower Power movement, these prints exploded onto everything from dresses to accessories.
👢 Go-Go Boots & Heeled Pumps – Knee-high boots and low-heeled pumps became wardrobe staples.
💎 Plastic & Pop-Art Accessories – Jewellery took a fun, playful turn, featuring chunky plastic bangles, oversized floral earrings, and colourful resin pieces.
💇‍♀️ Voluminous Hair & Winged Eyeliner – Beehives, bouffants, and soft curls were all the rage, paired with dramatic cat-eye makeup.

🌸 How Western Fashion Influenced Thailand in the 1960s

Although Thailand maintained its cultural identity, fashion in the 1960s saw a strong influence from Western trends, especially in urban areas. Thai women began incorporating Western-style dresses, bold floral prints, and modern tailoring into their wardrobes while still honouring traditional elements like pha-sin skirts and Thai textiles.

• Mod & Floral Trends – Thai cinema and urban fashion reflected the rise of mod-style silhouettes and floral motifs.

• Western Accessories – Plastic jewellery, pop-art brooches, and statement earrings became more common, inspired by European and American trends.

• Hairstyle Revolution – Bouffants and soft curls replaced traditional buns and braids, showcasing a shift towards modern Western styling.

By the late 1960s, Thai cinema stars were often seen in hybrid outfits that combined Western cuts with Thai fabrics, showing the unique way Thailand adopted and adapted global trends.

🌸 Mon Rak Luk Thung (มนต์รักลูกทุ่ง) (1970): A Thai Countryside Romance Reimagined Through 1960s Flower Power 🌸

If Thailand’s golden age of cinema had a defining rural love story, Mon Rak Luk Thung (มนต์รักลูกทุ่ง)(1970) would be it. More than just a beloved musical about romance and hardship in the countryside, this film is a visual time capsule of 1960s Thai fashion, blending traditional wear with the everyday styles of the era. However, while the original wardrobe remained realistic and true to its time, my collection takes a bold, imaginative approach, infusing 1960s high fashion, Thai textile heritage, and the vibrant energy of Western Flower Power.

Mon Rak Luk Thung has been remade multiple times, both as feature films and television series, with the most recent TV adaptation airing just a few years ago. If another remake were to be produced in the future, this collection could serve as an exciting source of inspiration for the creative team, offering a fresh perspective on how to bring 1960s Thai countryside fashion to life with a modern, cinematic twist.

🎬 1960s Cinema: Hollywood Glamour vs. Thai Realism

The 1960s was a transformative decade for cinema and fashion worldwide. In Hollywood, the era saw the rise of mod fashion, psychedelic prints, structured tailoring, and pop-art accessories. Films like Breakfast at Tiffany’s (1961) and Cleopatra (1963) showcased glamorous evening wear, while Barbarella (1968) and Easy Rider (1969) reflected the rise of hippie counterculture and Flower Power fashion—characterised by florals, bold colours, and carefree styling.

Meanwhile, in Thai cinema, fashion remained grounded in realism. Mon Rak Luk Thung depicted authentic, everyday countryside attire, rather than the exaggerated glamour of Western films. Female characters wore simple blouses, pha-sin (traditional woven skirts), and modest tailoring, reflecting how Thai women in rural areas truly dressed at the time. While the wardrobe was historically accurate, it lacked the bold, stylised flair that made 1960s Western fashion so visually striking.

This is where my collection takes inspiration—I wanted to reimagine the world of Mon Rak Luk Thung through a fresh lens, blending high fashion elements, bright colours, and traditional Thai textiles with a playful Flower Power twist.

🌺 A New Vision: 1960s Thai Fashion Meets Western Flower Power 🌺

While the original wardrobe was muted and practical, my collection presents a fantastical reinterpretation of what Mon Rak Luk Thung could look like in a heightened, cinematic version of 1960s Thai fashion. My inspiration draws from three key elements:

✨ 1. High Fashion Influence

Western 1960s high fashion embraced sharp tailoring, peplum blouses, fitted silhouettes, and mod-style prints. I kept these elegant cuts but adapted them using Thai textiles, replacing plain fabrics with vibrant pha-sin patterns. Instead of the subdued colours typically seen in rural Thai fashion, I embraced bold, joyful hues that feel celebratory and filmic.

🌸 2. The Flower Power & Hippie Movement

By the late 1960s, floral prints, psychedelic patterns, and free-spirited styling dominated global fashion. The Flower Power movement symbolised peace, optimism, and self-expression, making it a perfect complement to a romantic countryside setting. My collection incorporates:
🌼 Bold floral prints on blouses and skirts
🌸 Oversized floral accessories, such as statement earrings and brooches
🌿 Hair adorned with flowers and decorative headbands

💎 3. Plastic & Pop-Art Jewellery

One of the biggest fashion shifts of the 1960s was the introduction of playful, plastic accessories. While traditional Thai jewellery was typically made of gold, silver, and gemstones, the 1960s brought about a youthful, pop-art-inspired wave of oversized resin earrings, chunky bangles, and statement brooches. I embraced this trend in my designs, adding kitschy, fun accessories to complete the looks.

The Evolution of the Thai Student Bob: From 1920s Modernity to the End of an Outdated Rule

Introduction: The End of an Outdated Rule

On 5 March 2025, Thailand’s Supreme Administrative Court finally ruled to revoke the longstanding regulation restricting students' hairstyles, marking a significant victory for personal freedom and self-expression in schools. The Ministry of Education's rule, which dated back to 1975, enforced short bob haircuts for female students as a symbol of discipline, but in reality, it limited personal choice and identity.

The ruling reflects broader global shifts in education, gender equality, and bodily autonomy. But to truly understand the significance of this moment, we must trace the roots of the Thai student bob—how it emerged, why it became institutionalised, and its cultural and political significance in the changing landscape of Thai society.

The Bob as a Symbol of Modernity: From Edwardian Femininity to 1920s Rebellion

The bob haircut was one of the most radical fashion statements of the 20th century, originating in the 1920s as part of the Flapper movement. Western women cut off their long Edwardian hair, rejecting the elaborate upswept styles of the 1900s, which had symbolised traditional femininity, passivity, and domesticity.

Fashion historian Caroline Cox, in Good Hair Days: A History of British Hairstyling, explains that the bob was a direct challenge to Victorian and Edwardian ideals of femininity, where long hair had been a symbol of respectability and modesty. She describes the bob as "a haircut that symbolised modernity, independence, and a rejection of the old-world ideals of womanhood."

Similarly, Valerie Steele, in Paris Fashion: A Cultural History, notes that the bob was "as much a political statement as it was a fashion choice, embodying the spirit of the 'New Woman'—active, independent, and breaking free from past constraints."

The impact of this trend was global—and Siam was no exception.

Under the reign of King Rama VII (1925–1935), Siam was undergoing modernisation, with Western influences shaping urban culture, especially among the educated elite. Wealthy and aristocratic young women in Bangkok’s progressive schools adopted the bob as a statement of modernity and cosmopolitanism, mimicking European trends.

The 1920s Thai Fashion Revolution: Short Pha-sin, Western Blouses, and the Bob

Alongside the bobbed hairstyle, Thai women’s fashion in the 1920s underwent a transformation. My AI-generated collection showcases how young Thai women of the era embraced the flapper aesthetic, adapting it into their own cultural context.

One striking shift was in the traditional pha-sin (ผ้าซิ่น)—instead of the floor-length version, younger women wore shorter pha-sin that fell just below the knee, mimicking the straight, drop-waisted silhouette of 1920s Western dresses. This was paired with Western-style blouses, often lightweight and featuring delicate embellishments, reflecting both practicality and elegance.

By the late 1920s and early 1930s, the bob haircut, shorter pha-sin, and Western blouses became a defining look for progressive Thai women, especially in urban centres like Bangkok.

Institutionalisation: From Trend to School Regulation

By the mid-1930s, the bob haircut was no longer just a fashion statement—it became a school policy.

The Ministry of Education enforced the bob haircut in schools as a symbol of discipline, order, and collective identity. This mirrored similar policies in Japan, China, and other nations where school uniforms and strict grooming standards were used to instil conformity.

However, while the original adoption of the bob in Siam was a marker of modernity and progress, its transformation into a compulsory school rule erased its meaning as an expression of choice.

Kaleng Men and Phu Tai Women from Monton Udon in 1907

While exploring old photographs of Isan, I came across colourised images from a webpage that has not been updated for a long time (Colorised of Esarn). This website was a valuable archive of rare historical photographs. Although it is no longer updated, the images inspired me to create this AI Photo Collection, using the original historical photographs as a foundation.

The original photographs were taken during the royal inspection tour of Prince Damrong Rajanubhab, then Minister of the Interior, in 1906 (B.E. 2449). The tour covered several provinces in Monthon Udon and surrounding regions, with photographers documenting the way of life and attire of the local people at that time.

Traditional Attire of Phu Tai Women and Kaleng Men

Phu Tai Women

Phu Tai women traditionally wear Phasin Matmee Phu Tai, a distinctive handwoven textile found in Kalasin, Sakon Nakhon, Nakhon Phanom, Mukdahan, and Maha Sarakham provinces. This textile is crafted using weft ikat (Matmee) techniques, featuring ancient patterns that have been preserved through generations, such as:

• Khan Mak Beng (ceremonial offering tray motif)

• Kha Pia (braided leg motif)

• Khorm (lantern motif)

• Kho (hook motif)

• Krajang (scroll motif)

• Eia (ancient wave motif)

Additionally, motifs from Pha Phrae Wa, such as Bai Bun (leaf motif), Kan Kong (vine motif), Maha Phan (floral arrangement motif), are sometimes incorporated into Phu Tai Matmee designs.

Phu Tai women’s attire consists of a long-sleeved or fitted blouse in dark tones, such as navy blue or deep green, paired with a contrasting shoulder cloth (Pha Biang) for added elegance. They accessorise with silver jewellery, including necklaces and earrings, while their hair is often styled in a traditional high bun (Muay Phu Tai).

📷 In the reference photograph, the Phu Tai woman is dressed in a deep green long-sleeved blouse, draped with a red-purple shoulder cloth, reflecting the simplicity and elegance of Phu Tai women's daily wear.

Kaleng Men of Monthon Udon

Commoner men in Monthon Udon, particularly from the Kaleng ethnic group, wore long-sleeved, front-buttoned traditional shirts, made from handwoven cotton or silk in dark hues such as indigo or navy, fastened with silver or wooden buttons.

For the lower garment, they typically wore plain sarongs or traditional loincloths (Chong Kraben), made from plain cotton. They often tied a waist sash for practicality, and some carried woven rattan rice baskets (Krathip Khao) or handwoven shoulder bags (Yam) as everyday accessories.

📷 In the reference photograph, the Kaleng man wears a deep indigo traditional shirt with a plain reddish-brown sarong, secured with a waist sash. He also carries a rice basket, reflecting the traditional lifestyle of Isan commoners over a century ago.

AI Photo Collection: Preserving Cultural Heritage

Using the original photographs and previously colourised versions as a reference, I applied AI technology to create a series of realistic images that highlight the intricate details of traditional attire while staying true to the cultural heritage of the region.

I would like to extend my gratitude to those who initially colourised these photographs, as their work has helped bring historical images back to life. I hope this AI Photo Collection serves as a continuation of their efforts, ensuring the beauty of Isan culture is preserved and appreciated by future generations.

Honouring the Cultural Significance of Phu Thai Renunakhon Dance (ฟ้อนภูไทเรณูนคร)

Recently, I was thrilled to receive a remarkable photograph from a fan page showcasing a group of ladies performing ฟ้อนภูไทเรณูนคร in the 1960s. This captivating image served as the inspiration for my latest AI collection, allowing me to recreate and honour the rich heritage of this exquisite dance from Nakhon Phanom. It was an absolute joy to use AI to recreate such a cherished cultural tradition and bring these timeless memories to life. This collection not only honours the beauty of ฟ้อนภูไทเรณูนคร but also celebrates the dedication of those who have kept this tradition alive for generations. The vibrant navy blue and red costumes, the graceful movements, and the deep cultural significance make ฟ้อนภูไทเรณูนคร an irreplaceable part of Thailand’s artistic heritage.

I hope this collection inspires more people to appreciate the elegance and history of ฟ้อนภูไทเรณูนคร, just as the original photograph inspired me. Thank you to the fan page for sharing such a treasured piece of history!

The Cultural Heritage of ฟ้อนภูไทเรณูนคร

The traditional dance known as ฟ้อนภูไทเรณูนคร (Phu Thai Renunakhon Dance) represents a significant aspect of the cultural heritage of the Phu Thai ethnic group in Renunakhon District, Nakhon Phanom Province, Thailand. Rooted in ancestral traditions, this dance is a defining element of the province’s artistic identity and continues to be performed as a means of cultural preservation.

One of the most notable historical milestones for ฟ้อนภูไทเรณูนคร occurred in 1955, when Their Majesties the King and Queen of Thailand visited Phra That Phanom. In commemoration of this visit, Governor Sanga Chantarasakha arranged for a performance of the dance. Under the direction of Kamnoeng Intiya, the District Education Officer of Renunakhon, the choreography was refined through consultation with experienced elders. As a result, the dance evolved into a structured form that has been passed down through generations and remains an integral part of the region’s cultural landscape.

The Structure and Performance of ฟ้อนภูไทเรณูนคร

The Phu Thai Renunakhon Dance is characterised by its graceful movements and distinctive choreography. Traditionally performed by male and female pairs, the dance consists of synchronised movements executed in a circular formation. Each pair takes turns performing intricate steps at the centre of the circle, aligning their motions with the rhythm of traditional musical instruments, including the khaen (a bamboo mouth organ), drums, and the phin (a traditional lute).

A unique feature of this dance is its adherence to Phu Thai customs. Dancers perform barefoot, and male dancers are strictly prohibited from making physical contact with their female counterparts. This practice is rooted in spiritual beliefs, as the Phu Thai people uphold a deep reverence for ancestral spirits. Any breach of this custom may necessitate a formal reconciliation ritual, demonstrating the importance of cultural integrity within the performance.าร

Lanna Wooden Houses: The Wisdom and Art of Traditional Living

In the 1960s (พ.ศ. 2503–2512), the fashion of Chiang Mai women still reflected the Lanna identity, despite the increasing influence of Western fashion. The "cylinder-sleeve blouse" (เสื้อแขนกระบอก) was a highly popular garment during this period. It was characterised by straight sleeves without pleats or ruffles, emphasising simplicity and elegance. These blouses typically featured a high or round neckline and were made from cotton or locally woven silk. Light or pastel colours, such as white, cream, and soft pink, were commonly worn for their refined appearance and suitability for the northern climate.

The "sin" (ผ้าซิ่น – tubular-style skirt) was another key element of traditional dress, with various types distinguished by patterns and origins, including:

• Sin Ta (ซิ่นต๋า) – A horizontally striped sin, usually in dark tones contrasted with bright-coloured lines.

• Sin Teen Jok (ซิ่นตีนจก) – A sin with intricate, decorative patterns at the lower border, often worn by noblewomen.

• Sin Nam Thuan / Sin Nam Thum (ซิ่นน้ำท่วม / ซิ่นน้ำถ้วม) – A sin with tiered horizontal stripes resembling water levels.

• Sin Wiset Mueang Nan (ซิ่นวิเศษเมืองน่าน) – A traditional Nan province sin known for its finely detailed patterns.

• Sin Nam Pat-Fak Tha (ซิ่นน้ำปาด-ฟากท่า) – A sin with unique designs from Nam Pat and Fak Tha districts in Uttaradit province.

For daily wear, women preferred simple and comfortable patterns, while more elaborate designs were reserved for special occasions and ceremonies.

"Hair buns" (การมวยผม) were the preferred hairstyle at the time. Women in Chiang Mai typically styled their hair in a "high bun" (เกล้ามวยสูง), adorned with golden or silver hairpins and fresh flowers for added elegance. For formal events or religious ceremonies, older women often favoured "low buns" (เกล้ามวยต่ำ) to maintain a dignified look, while younger women would style their hair in "round buns" (มวยกลม) for a youthful and fashionable appearance.

The Elegance of Chiang Mai Women in the 1960s: Fashion and the Symbolism of Orchids

The 1960s (B.E. 2503-2512) marked an era of graceful yet deeply traditional fashion for women in Chiang Mai, a city that has long been a cultural heartland of Lanna heritage. The distinctive attire of Chiang Mai women during this period consisted of the “เสื้อแขนกระบอก” (seua khaen krabok), a fitted long-sleeved blouse with a buttoned front, paired with the “ผ้าซิ่น” (pha sin), a woven silk or cotton tube skirt. One of the most common variations was the “ผ้าซิ่นต๋า” (pha sin ta), a skirt featuring horizontal stripes throughout the fabric with simple patterns, making it suitable for all occasions. Women often styled their hair in elaborate upswept chignons, a signature look that exuded elegance and refinement.

Beyond fabric and tailoring, what made Lanna women’s fashion particularly striking was their intricate hair adornments, featuring wild orchids or “ดอกเอื้อง” (dok euang). These delicate blossoms, found abundantly in Chiang Mai’s lush forests and misty mountain ranges, were more than just decorations; they were deeply embedded in the region’s cultural and spiritual beliefs.

Orchids in Lanna Culture: A Symbol of Beauty and Prosperity

The forests of Northern Thailand, particularly in areas such as Doi Suthep, Doi Inthanon, and Doi Chiang Dao, are home to a vast variety of orchids. These flowers were not only admired for their beauty but were also revered as sacred symbols of prosperity and good fortune.

Among the many varieties used by Chiang Mai women in the 1960s were:

• เอื้องคำ (Dendrobium chrysotoxum), a golden-yellow orchid representing wealth and abundance.

• เอื้องภึ้ง (Dendrobium lindleyi), a smaller yet equally striking species often woven into floral garlands.

• เอื้องสาย (Dendrobium anosmum), a fragrant variety associated with love and devotion.

• เอื้องเงิน (Dendrobium crystallinum), a rare and highly prized orchid believed to bring spiritual protection.

The significance of orchids extended beyond aesthetics. In Lanna tradition, these flowers were often used in ritual offerings to spirits and deities. Women who adorned their hair with orchids were believed to carry an aura of purity, elegance, and good fortune. The choice of orchid was also symbolic—golden-hued varieties were worn during festivals and weddings, while delicate white orchids were preferred for more solemn occasions.

The Rise of the Miniskirt and Its Influence in 1960s Bangkok

The Global Miniskirt Revolution

The 1960s marked a transformative period in global fashion, with the miniskirt emerging as one of the most iconic symbols of the era. British designer Mary Quant is often credited with popularising the miniskirt in the early 1960s, pushing the boundaries of hemlines higher than ever before. The trend was widely embraced by young women in London, Paris, and New York, reflecting a broader cultural shift towards youth empowerment, liberation, and modernity. By the mid-1960s, designers such as André Courrèges and Pierre Cardin further cemented the miniskirt’s place in high fashion, incorporating futuristic silhouettes and bold materials that embodied the Space Age aesthetic.

The Adoption of the Miniskirt in Bangkok

As Bangkok modernised rapidly during the 1960s, Western fashion trends found their way into Thai society, particularly among the urban elite and film industry figures. The miniskirt became a statement piece for fashionable young women, influenced by international films, magazines, and Thai celebrities who embraced contemporary styles. Bangkok's fashion scene at the time was deeply intertwined with cinema, as movie stars played a crucial role in shaping public perceptions of modern beauty and elegance.

Among the most notable figures in this movement was Malarin Bunnag (มาลาริน บุนนาค), a famous Thai actress whose stylish wardrobe often incorporated both Western and Thai elements. One of her most memorable outfits, worn at a social gathering, was a stunning fusion of the 1960s miniskirt and traditional Thai dress. Her ensemble consisted of a very short pha-sin-inspired skirt, paired with a long-sleeved lace blouse and a sash similar to แพรสพาย—a nod to the 1920s fashion silhouette during the reign of King Rama VI. This ingenious interpretation blended contemporary trends with Thai heritage, showcasing how Bangkok’s fashionistas creatively adapted Western influences to suit local aesthetics.

The 1960s Miniskirt as a Symbol of Change in Thailand

The adoption of the miniskirt in Thailand reflected the country’s shifting social dynamics during the post-war era. The 1960s was a decade of economic growth, increasing globalisation, and modernisation, particularly in Bangkok. As young Thai women gained greater access to education and career opportunities, fashion became an important medium of self-expression. The miniskirt, with its bold and youthful appeal, was embraced as a statement of confidence and contemporary sophistication.

However, the trend also sparked debates, particularly among conservative segments of Thai society who viewed the rising hemlines as a challenge to traditional values. Despite this, the miniskirt continued to thrive throughout the decade, becoming a mainstay in urban fashion and influencing later adaptations of Thai womenswear.

Conclusion

The story of the miniskirt’s rise in Bangkok during the 1960s highlights the dynamic interplay between global fashion trends and local cultural identity. Figures like Malarin Bunnag (มาลาริน บุนนาค) played a pivotal role in shaping how Thai women embraced and reinterpreted modern styles, creating unique hybrid looks that remain inspiring to this day. Her 1960s party outfit—a fusion of Western miniskirt fashion and Thai traditional elements—stands as a testament to the ingenuity and adaptability of Thai fashion during this vibrant era. Her image has also served as a key inspiration for my AI-generated collection exploring miniskirt fashion in Thailand, showcasing how past trends continue to influence creative interpretations in the digital age.

The Swinging Sixties: Bangkok Fashion and Its Global Influences

The inspiration for this AI-generated collection comes from a deep admiration for the golden era of Thai cinema in the 1960s (พุทธศักราช 2503-2512). This period was a defining moment for Thai fashion, where Western influences merged seamlessly with local aesthetics, creating a unique and glamorous style. Thai movie stars of the time, such as Petchara Chaowarat (เพชรา เชาวราษฎร์) and Aranya Namwong (อรัญญา นามวงศ์), were not just celebrated actresses but also fashion icons who epitomised the beauty ideals of their generation. Their meticulously styled hair, elegant dresses, and bold makeup set the standard for Thai fashion, influencing the way women dressed both on and off the screen.

To bring this nostalgic vision to life, I meticulously trained three LoRA models using archival photographs from old magazines, carefully adjusting different weight parameters to achieve an authentic recreation of the era. Each element—hairstyling, makeup, fabric textures, and silhouettes—has been designed with historical accuracy to evoke the feeling of vintage fashion photography from that time. The goal of this collection is to transport viewers back to the vibrant world of 1960s Bangkok, capturing the elegance and charm of an era when Thai fashion was at the crossroads of tradition and modernity.

This AI collection is not merely an artistic experiment but a homage to the cinematic and fashion legacy of Thailand’s most glamorous decade. The meticulously curated visuals reflect how the 1960s fashion in Thailand was shaped by both international influences and local sensibilities, honouring the icons who defined an era of beauty and sophistication.

The 1960s was a transformative decade for fashion across the world, and Bangkok was no exception. The rapid modernisation of Thailand, influenced by political, social, and cultural shifts, led to an embrace of Western styles, particularly in urban centres. Fashion became a marker of progress, youth, and cosmopolitanism, as Thailand continued its transition from a traditional society into a more globally integrated one. Yet, even as Bangkok absorbed the latest styles from London, Paris, and Hollywood, Thai identity remained deeply embedded in its fashion, resulting in a unique fusion of modernity and cultural heritage.

Western Fashion Trends and the Rise of Modernity

The early 1960s retained some elements of the structured, feminine silhouettes of the 1950s, but as the decade progressed, youth-driven fashion began to take centre stage. London became the epicentre of change, with the rise of the Mod movement, championed by designers such as Mary Quant, who revolutionised women’s wear with the miniskirt. Short hemlines, bold geometric patterns, and vibrant colours became synonymous with the youthful rebellion of the time. The influence of Parisian haute couture remained strong, particularly with the sleek and futuristic designs of André Courrèges and Pierre Cardin, who introduced space-age fashion with metallic fabrics, clean lines, and minimalistic silhouettes.

Simultaneously, Hollywood glamour continued to inspire trends, with actresses such as Audrey Hepburn, Elizabeth Taylor, and Brigitte Bardot setting the standard for elegance and sophistication. American fashion adopted a more relaxed approach with the rise of casual wear, embracing slim trousers, tailored blouses, and shift dresses. By the late 1960s, the influence of the counterculture movement introduced psychedelic prints, flowing bohemian dresses, and an overall rejection of formality, paving the way for the more relaxed styles of the 1970s.

Thailand’s Journey Towards Westernisation

Thailand had been steadily Westernising since the 1950s, a process largely driven by its close ties with the United States during the Cold War. The government’s efforts to modernise Bangkok saw an influx of Western media, consumer goods, and pop culture. Hollywood films, international fashion magazines, and American music became widely accessible, influencing the way young Thai women dressed. While the formal Thai dress tradition—rooted in silk-wrapped skirts (pha nung) and Thai-style blouses—remained essential for official and traditional events, everyday attire in Bangkok’s cosmopolitan society increasingly mirrored global trends.

In the early 1960s, the Thai elite and middle class adopted the classic fitted dresses and tailored suits reminiscent of European styles. Silk remained a staple material, but its designs shifted towards more Western cuts. By the mid-1960s, the influence of the London Mod scene was undeniable, with young Thai women in urban areas wearing miniskirts, A-line dresses, and fitted blouses inspired by Twiggy and Jean Shrimpton. Colourful patterns, bold stripes, and geometric shapes became increasingly popular, reflecting the optimism and modernity of the era.

One of the biggest shifts in Thai fashion was the growing acceptance of shorter hemlines. While traditionally, Thai women’s dresses were modest and draped, the 1960s saw a rapid change as skirts gradually rose above the knee. This shift was particularly visible among film stars and socialites, who embraced the new silhouettes. Petchara Chaowarat and Aranya Namwong, two of Thailand’s most celebrated actresses of the era, became style icons, their wardrobe choices influencing thousands of Thai women. Their on-screen costumes frequently featured sleek, figure-hugging dresses, pastel tones, and intricate lace embellishments, blending Western fashion trends with Thai textile craftsmanship.

1950s Fashion in Bangkok: Christian Dior’s New Look

During the 1950s (1950–1960), women in Bangkok began widely adopting Christian Dior’s New Look, marking a significant transformation that reflected global fashion trends. Introduced in 1947, the New Look was defined by cinched waists and voluminous skirts, emphasising a graceful and elegant silhouette. Women in Bangkok eagerly embraced these styles, aligning themselves with international fashion trends and symbolising Thailand’s modernisation in the post-war era.

Inspiration from a Vintage Photograph and AI Creation

The inspiration for this collection came from an original black-and-white photograph of Bangkok from the 1950s, depicting commuters walking along a narrow alley. Most women were dressed in traditional Thai attire—blouses paired with pha-sin skirts—but one woman stood out, wearing a full skirt in the style of Dior’s New Look. This rare image provided tangible evidence that the global fashion trend had also reached Bangkok.

Intrigued by this visual contrast, I colourised the original photograph to enhance the details of the clothing, allowing for a clearer representation of how these styles coexisted. From this inspiration, I developed an AI-generated collection, reimagining 1950s fashion in Bangkok influenced by Dior’s New Look, while preserving the historical context of the period.

The Influence of Hollywood and High Fashion Designers

Hollywood cinema played a crucial role in influencing the acceptance of the New Look in Thailand. Iconic actresses such as Grace Kelly, Elizabeth Taylor, and Audrey Hepburn became style inspirations for Thai women, who admired their glamorous appearances and refined femininity. Whether it was full skirts, fitted bodices, V-neck blouses, or elegant accessories, these Hollywood stars set the standard for sophisticated dressing.

Her Majesty Queen Sirikit (as she was known at the time) also played a pivotal role in popularising the New Look in Thailand. Her collaboration with Pierre Balmain, the renowned French designer, in the late 1950s resulted in exquisite royal ensembles that blended the feminine elegance of Dior’s silhouette with delicate Thai aesthetics. The outfits she wore on state visits garnered global admiration and became an inspiration for women in Thailand’s elite society.

Over time, the influence of Hollywood and haute couture designers made fashion in Bangkok increasingly cosmopolitan. Thai women embraced New Look-style full skirts not only for formal gatherings and diplomatic events but also in everyday fashion, reflecting both modern beauty ideals and newfound confidence.

The Development of Thai Fashion in the 1950s: A Fusion of Tradition and Modernity

During the 1950s (2493–2503 BE), Thai fashion was shaped by both local traditions and increasing Western influences, particularly from France. This period marked a transition from the more practical, post-war simplicity of the 1940s to a more refined and structured style, especially among the urban elite and younger generation. However, many Thai women continued to wear simple and practical clothing, echoing the styles of the 1940s, which blended Thai and Western elements for everyday wear.

One of the most significant Western fashion influences to reach Thailand in this era was Christian Dior’s “New Look”, introduced in 1947 (2490 BE). Defined by fitted bodices, cinched waists, and full skirts, the New Look became an international symbol of femininity and elegance. While this style was widely adopted in Europe and America, its reception in Thailand was more gradual and selective. Fashion-forward women in Bangkok incorporated elements of the New Look, such as A-line skirts and tailored blouses, but adapted them for practicality. Skirts were often less voluminous than their Western counterparts, reflecting the local climate and cultural preferences. Many women also continued wearing tube skirts (ผ้าซิ่น) or slim-cut skirts, which had been popular since the 1920s.

The Adoption of Western Dress Uniform in the Thai Court: A Fashion History

The transition from traditional Siamese court attire to Western-style dress uniforms was a gradual yet significant transformation that reflected Siam’s modernisation efforts during the late 19th and early 20th centuries. This shift was closely tied to King Chulalongkorn’s (Rama V) policies of state reform and diplomacy, which sought to align Siam with global standards while preserving its sovereignty amidst colonial pressures.

The introduction of Western military-style uniforms in the Thai court can be traced back to King Mongkut (Rama IV), who first adopted elements of European dress for diplomatic occasions. However, it was during the reign of King Chulalongkorn (1868–1910) that such uniforms became a formalised aspect of royal and government dress. Inspired by European courts, the King and high-ranking officials began wearing tailored military jackets adorned with medals, epaulettes, and aiguillettes, often paired with traditional phanung chongkraben (a draped lower garment) in the early phases of adoption.

By the time of King Vajiravudh (Rama VI, 1910–1925), the Western-style full dress uniform had become the official court attire for military and civil officials, replacing older hybrid styles. The long-standing tradition of wearing chongkraben with a European jacket gradually gave way to Western trousers, particularly for formal state functions and military ceremonies. These uniforms, influenced by British and French military attire, symbolised discipline, hierarchy, and modern governance in Siam.

Even today, the legacy of these dress uniforms remains visible in Thai official and military attire, particularly in royal ceremonies and state functions. The incorporation of European-style uniforms into the Thai court represents not just a shift in fashion but a deeper cultural and political evolution, balancing modernisation with national identity.

A Birthday Celebration with a Historical Twist! 🎉👑

Since today is my birthday, I thought it would be fun to add AI-generated portraits of myself wearing the early 20th-century Siamese dress uniform from the reign of King Rama VI! I wanted to capture the elegance of that era, with the beautifully embroidered military tunic, high collar, and ceremonial sash that defined the formal court attire of the time.

Do these AI portraits look like real historical photographs? 😆 Let me know what you think! Are they regal enough? Or should I add a few more medals for good measure? 😂

Cheers to another year and to celebrating Thailand’s rich sartorial heritage! 🎂🎖️

King Chulalongkorn and the Royal Hungarian Order of Saint Stephen: A Diplomatic Exchange in the Austro-Hungarian Expedition in 1869

The AI-generated recreation presented here brings to life a pivotal moment in Thai-European diplomatic history, depicting King Chulalongkorn (Rama V) in full regalia, adorned with the Royal Hungarian Order of Saint Stephen. This prestigious honour was bestowed upon the king by Emperor Franz Joseph I of Austria-Hungary in 1868, marking an important step in Siam’s growing engagement with European diplomacy. The original black-and-white photograph, taken during the Austro-Hungarian expedition to Siam in 1869, has been carefully reimagined in colour, providing a detailed reconstruction of how the king might have appeared at the time.

This ceremonial exchange of decorations was not merely an honorary gesture but part of a broader system of diplomatic gift-giving, deeply rooted in both European chivalric traditions and Siamese courtly culture. In his seminal work The Gift (1925), the French sociologist Marcel Mauss theorised that the act of giving, receiving, and reciprocating gifts is fundamental to social and political relationships. Applying this framework, the bestowal of the Order of Saint Stephen was not a unilateral act of generosity but an invitation to a reciprocal relationship—one that placed Siam within the network of European states and reinforced its sovereignty on the international stage.

The Austro-Hungarian Expedition to Siam (1869): A Historic Diplomatic Encounter

The 1869 Austro-Hungarian expedition to Siam was part of a larger diplomatic initiative aimed at expanding commercial and political ties in Asia. This mission took place during the early years of King Chulalongkorn’s reign, a period in which the young monarch sought to modernise Siam while preserving its independence amidst European colonial expansion. The delegation, led by Wilhelm Burger, a Viennese photographer and painter, was tasked with documenting Siamese society, architecture, and its ruling elite.

One of the most significant moments of this diplomatic exchange was the presentation of the Royal Hungarian Order of Saint Stephen to King Chulalongkorn by Emperor Franz Joseph I. The Order of Saint Stephen, originally established in 1764 by Empress Maria Theresa, was among the most distinguished honours of the Austro-Hungarian Empire. Traditionally reserved for European aristocrats and heads of state, its bestowal upon King Chulalongkorn signified Siam’s increasing status as a recognised and respected sovereign entity in the global diplomatic arena.

The event was meticulously recorded in photographs taken during the expedition, which later became an enduring visual representation of Siam’s engagement with European powers. These images, once attributed solely to Wilhelm Burger, have now been re-evaluated to include the contributions of Francis Chit (Khun Sunthornsathitsalak), the first Thai court photographer. Diaries from Burger’s assistant, Michael Moser, confirm Chit’s involvement, revealing that both Western and Thai photographers collaborated in producing these historic images. As Moser noted in his journal on May 16, 1869:

“We were three photographers: namely a native Siamese who does beautiful things and is also on the river. His name is Francis Chit. My master bought very nice matrices from him.”

This rediscovery challenges the Eurocentric narrative that had long credited Burger alone for these visual records, instead highlighting Siam’s active role in shaping its own diplomatic and visual representation.

Women’s Fashion in Late Edwardian Siam: A Study of Pre-War Fashion and Western Influences

Pre-War Fashion and the Influence of the Edwardian Era

Pre-war fashion was a significant period of transition in women's fashion. The early 20th century, particularly the late reign of King Edward VII (Edwardian Era, reigned 1901–1910), marked the final phase of elaborate and structured clothing before garments gradually shifted towards simpler and more practical designs.

During this time, fashion silhouettes were evolving from the rigid, corseted styles of the 19th century into more fluid, movement-friendly designs. This change became especially noticeable in the Teens Fashion period (1911–1919), which introduced a looser silhouette, narrower waistlines, and softer draping.

Pre-War and Post-War Fashion in the Teens Era

The Teens Fashion period (1911–1919) is often divided into two phases:

• Early Teens Fashion (1911–1914) → Pre-War Fashion, which retained much of the elegance of the Edwardian era but with a gradual softening of structure.

• Late Teens Fashion (1919–1919) → Post-War Fashion, which saw significant changes due to World War I (1914–1918), leading to simpler, practical designs that transitioned into the 1920s styles.

However, in Siam, under the reigns of King Chulalongkorn (Rama V, reigned 1868–1910) and King Vajiravudh (Rama VI, reigned 1910–1925), aristocratic women adopted Western-style blouses while retaining jong kraben, maintaining a distinct fusion of modernity and tradition.

The Importance of Reigning Monarchs in Fashion History

Fashion history is often categorised according to the reigning monarchs of a given period, as their courts influence dress trends. The transition between Rama V and Rama VI in Siam aligns with the Edwardian era and the Teens Fashion period in Britain and Europe, making it essential to consider both in historical fashion studies.

By referencing both Siamese and British monarchs, we can better contextualise the impact of global fashion trends on Siamese court attire, particularly as Western influences grew during the early 20th century.

Estimating Queen Rambai Barni’s Age and Fashion Context

Queen Rambai Barni was born on 20 December 1904 (B.E. 2447). If we examine her black-and-white photographs from childhood, we can estimate that she was between 8 to 12 years old, dating the image to approximately 1912–1916 (B.E. 2455–2459)—a critical period before World War I.

At this time, Western fashion was increasingly influencing Siamese aristocratic attire, especially in the royal court. Western-style blouses with lace embellishments and sailor collars became common, while jong kraben remained the standard lower garment among court women. The continued use of jong kraben in combination with European blouses reflected not only cultural traditions but also complex socio-political and economic factors.

The Evolution of Long Hairstyles in Siam: From ทรงดอกกระทุ่ม (Dok Krathum) to Western-Inspired Styles

Hairstyles in Siam have long served as markers of cultural identity, social status, and external influence. One of the most significant transformations occurred between the late 19th and early 20th centuries, when traditional short hairstyles gradually gave way to longer, Western-influenced styles.

While older generations, particularly those who came of age during the reign of King Chulalongkorn (Rama V),continued to favour closely cropped hairstyles, the Edwardian era (circa 1901–1910) marked the gradual rise of longer hairstyles among younger women. This shift reflected not only fashion trends but also broader cultural negotiations between tradition and modernity.

The Evolution of Long Hairstyles in Siam: A Symbol of Identity, Western Influence, and Crypto-Colonialism

AI technology has enabled rapid colourisation and enhancement of historical black-and-white photographs, providing a valuable tool for reconstructing the aesthetics of the past. While accuracy may not always be perfect, this process significantly contributes to training AI models to authentically simulate historical beauty standards. The following AI-enhanced photographs showcase the evolution of hairstyles and Western-influenced fashion among Siamese noblewomen in the late 19th century, during the reign of King Chulalongkorn (Rama V). This research is part of my AI model training on long hairstyles in the Siamese royal court.

Hairstyles as Cultural and Political Symbols

Hairstyles serve as important cultural symbols, reflecting identity and social status. Whether in the East or the West, hair is not merely an aesthetic choice but a marker of race, gender, and civilisation. As Sarah Cheang states, ‘Hair is a visible and embodied space where ideas about race, gender, and civilisation are both reinforced and challenged.’ This suggests that changes in hairstyles often reflect broader ideological and political transformations.

Hairstyles and Social Identity in the West

In Western cultures, particularly during the Victorian era, hair was viewed as a reflection of morality, femininity, and social class. Women with long, well-maintained hair were associated with purity, dignity, and elegance, whereas women with short or neglected hair were often seen as challenging social norms. Haircare and grooming rituals reinforced ideas of discipline and propriety, making hairstyles an essential element in the construction of gender and social identity.

Moreover, the significance of long hair extended to ideas of nationalism and colonial encounters. Western powers often regarded the hair customs of indigenous peoples as a sign of ‘backwardness’ and sought to impose their own grooming standards as part of their civilising mission. As Geraldine Biddle-Perry and Sarah Cheang argue in Hair: Styling, Culture and Fashion, ‘Hair plays a significant and dynamic role in fashion, self-presentation, and the construction of social identity.’ Thus, hair was not only a personal feature but also a tool for social control and cultural dominance.

AI-Enhanced Recreation: Imagining the Fashion of Noblewomen in Ubon Ratchathani During the Reign of King Rama V

This AI-generated project envisions how the noblewomen of Ubon Ratchathani might have dressed during the reign of King Chulalongkorn (Rama V), a time when Thai women's fashion was influenced by Victorian and Edwardian styles. I used key elements such as high-collared lace-embellished blouses paired with traditional pha sin (ผ้าซิ่น) from Ubon Ratchathani as the foundation for generating these images with AI, ensuring that details of sin lai long (ซิ่นลายล่อง, vertically striped pha sin) and lai kruai cherng (ลายกรวยเชิง, stylised border motifs) were as accurate as possible.

The basis of this AI training began with three black-and-white photographs of Mom Chiang Kham (หม่อมเจียงคำ), which are available online. These images were then combined with a dataset consisting of pha sin textiles from Ubon Ratchathani and Edwardian-style blouses. One limitation of training LoRA (Low-Rank Adaptation) for this project was that once the first LoRA was trained and generated a few variations in fashion styles, those images were then used as a new dataset to train the second model.

I trained three AI models based on the images produced by the first two models to create more diverse fashion styles. Through this process, I found that although standard LoRA training typically recommends using similar types of images—such as training portrait models exclusively with images of faces or individuals—my approach of including clothing items like different blouse styles and textiles significantly improved the training process. This allowed the AI to incorporate those elements into the dataset for greater clothing variety, better textures, and more refined details.

A Glimpse into the Past: Victorian-Era Western Fashion in 19th-Century Chiang Mai

This rare glass plate photograph from 19th-century Chiang Mai captures a striking moment in history—four well-dressed Asian men posing in impeccably tailored Victorian-era formalwear. Their frock coats, morning suits, and cravats, combined with carefully placed flowers on their lapels, suggest a significant occasion, possibly a wedding or a formal church ceremony. However, beyond the immediate intrigue of the event, this image serves as a fascinating window into the evolving landscape of men’s fashion in the late Victorian and early Edwardian eras, particularly in regions influenced by Western trends.

The Boutonnière: A Symbol of Ceremony and Status

One of the most striking details in this photograph is the boutonnières—the small flowers pinned to each man’s lapel. This single accessory provides a powerful clue to the nature of the event, as the boutonnière was not merely decorative but a marker of formality and significance in the 19th century.

The boutonnière, derived from the French word for “buttonhole,” was a hallmark of elegance and social standing among gentlemen during the Victorian and Edwardian eras. It was traditionally worn at weddings, religious ceremonies, and formal gatherings, as well as by men of high status at public events.

Inspiration for This AI-Generated Collection

This AI-generated collection is inspired by three historical photographs of Mom Chiang Kham Chumphon na Ayutthaya, a noblewoman of Ubon Ratchathani. By employing AI technology to recreate these images, I aimed to create her likeness as accurately as possible, particularly her clothing, which reflects the authentic style of the era. The pha sin (ผ้าซิ่น), a tubular skirt traditionally worn by women in Laos, Lanna, and Burma in the 19th and early 20th centuries, appears in these images with vertically striped patterns, known as sin lai long (ซิ่นลายล่อง), meaning "striped pha sin." This style is characteristic of indigenous textiles from Isan and Laos, differing from the horizontally patterned pha sin of Lanna.

In contrast to the widespread use of pha sin (ผ้าซิ่น) in these regions, most Siamese women at the time wore jong kraben(โจงกระเบน), a wraparound lower garment resembling the Indian dhoti, worn in a trouser-like style. The use of pha sin among noblewomen in Ubon Ratchathani thus reflects the region’s cultural connections to the broader Lao-influenced traditions of the Mekong region.

Mom Chiang Kham Chumphon na Ayutthaya was a prominent noblewoman of Ubon Ratchathani during the reign of King Rama V. She played a crucial role in preserving and advancing local textile arts. Passionate about wearing pha sin, she was instrumental in maintaining the exquisite weaving techniques unique to the noblewomen of Ubon Ratchathani. This article explores the historical and artistic significance of these noblewomen’s pha sin, along with Mom Chiang Kham’s contribution to preserving this heritage.