Queen Sirikit is often compared to Jackie Kennedy, the young, beautiful wife of a head of state, who used fashion as a form of diplomacy. What were the most radical things she did for Thai dress?
HRH Princess Sirivannavari: I think you can see how she used fashion as a kind of foreign currency for sending hidden messages. To me, it was a very talented way of showing off our heritage. She would not only appear in beautiful Balmain creations; she also wore national costumes all over the world to show that we had our own style. She loved history and art and researched everything herself—fabrics, jewelry, everything. In the 60s and 70s, Southeast Asia was not what it is now. Thailand needed its own identity on the global stage, and she created that, standing beside the King—sort of like his PR—to show what he supported, but in her own way. She was fun, and she had her own ideas about how a modern queen should speak to the world.
Is there anything she told you that has stayed with you as a designer?
She always told me, “Do not forget your homeland and culture. Keep all the good of Europe and bring it to the Thai, and develop them. And don’t leave the craftspeople behind.” I also remember sitting next to her one time when she said, after decades of protocol and white gloves and all that, that it was “time to relax and have fun.” She must have been 70. I felt like she had paid her dues to convention.
The Queen had a remarkable creative relationship with Balmain and Lesage. What made it so singular?
There was so much cooperation—Balmain would come and take beautiful photographs, and work with Thai designers to make sketches, then take them to Lesage to create extraordinary embroideries from temple paintings, for example. My grandmother showed him so many beautiful things, to let him play, but she also had her own style. Together, they created a style that is unique in the world: not 100% Thai and not 100% French, but a true collaboration of two artists. Balmain had to adapt to irregularities of hand-woven cloth, for example, and make it part of his creations. They became great friends, taking real care of each other. We tried to make that back-and-forth visible in this exhibition.
What do you consider your grandmother’s most lasting legacy?
My grandmother was iconic, a beloved queen across generations. And her following was not only for her clothes and jewelry; it was for her way of speaking, her manners, her wit, her whole persona. The big fans remember exactly which jewels she wore for which occasion. She was the whole package.
In terms of fashion, she really revived a tradition that continues to inspire a young generation. She took a tradition and changed it just slightly, towards modernism, to create a new standard similar to the Japanese kimono or the Indian sari. She also championed natural dyes, and wearing Thai textiles not as a costume, but as part of your everyday wardrobe—and she fostered the artisans and rural craftspeople who made it possible, through what became the SUPPORT Foundation. It’s very important work. After all, craftsmanship is one thing AI cannot do.
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