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Traditional Thai clothing (Thai:ชุดไทย,RTGS: chut thailit. 'Thai outfit') refers to the traditional styles of dress worn by theThai people. It can be worn by men, women, and children. Traditional clothing for Thai women usually consists of apha nung or a(chong kraben), and asabai. Northern and northeastern women may wear asin instead of apha nung and achong kraben with either a blouse or asuea pat.Chut thai for men includes achong kraben or pants, aRaj pattern shirt, with optional knee-length white socks and asabai.Chut thai for northern Thai men is composed of asado, a white Manchu-styled jacket, and sometimes akhian hua. In formal occasions, people may choose to wear a so-calledformal Thai national costume.
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Historically, both Thai males and females dressed themselves with a loincloth wrap calledchong kraben.[1]: Note 10 Men wore their chong kraben to cover the waist to halfway down the thigh, whilst women wore their chong kraben down the waist to well below the knee.[2] Members of the nobility wore silk robes calledkhrui and a tall, pointed hat calledlomphok in attendance of royal affairs. Bare chests and bare feet were accepted as part of the Thai formal dress code, and are observed in murals, illustrated manuscripts, and early photographs up to the middle–1800s.[2] Prior to the 20th century, the primary markers that distinguished class in Thai clothing were the use of cotton and silk cloths with printed or woven motifs, but both commoners and royals alike wore wrapped, not stitched clothing.[3] Traditional Thai attire changed significantly during theRattanakosin period.[citation needed]
Prior to the 1700s, Thai men and women both kept their hair long. However, following theBurmese–Siamese wars of 1759-1760 and1765–1767 and repeated Burmese invasions intoAyutthaya, central Thai women began cutting their hair in acrew-cut short style, which remained the national hairstyle until the 1900s.[4]
From the 1860s onward, Thai royals "selectively adoptedVictorian corporeal and sartorial etiquette to fashion modern personas that were publicized domestically and internationally by means of mechanically reproduced images."[3] Stitched clothing, including court attire and ceremonial uniforms, were invented during the reign of KingChulalongkorn.[3] Western forms of dress became popular among urbanites in Bangkok during this period.[3]During the early–1900s, KingChulalongkorn encouraged Thai women to wear long hair instead of traditional short hair which later became a trend during the reign of KingVajiravudh along with wearingpha sin (ผ้าซิ่น), a tubular skirt, instead of thechong kraben (โจงกระเบน), a cloth wrap.[5]
On 15 January 1941,Plaek Pibulsonggram issued aThai cultural mandate to modernize and Westernize Thai dress, by deeming the long-practiced customs of wearing underpants, wearing no shirt, or wearing a wraparound cloth, as forms of inappropriate public attire.[6]
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Chong kraben (Thai: โจงกระเบน, Thai pronunciation: [tɕoːŋ.kra.beːn]) is a traditional lower-body garment commonly worn in Thailand,Laos andCambodia. TheSiamese people adopted this lower-body garment in ancient times. It is a long rectangular cloth used to wrap the lower body and reflects shared cultural influences acrossMainland Southeast Asia. The garment is influenced in function by theSouth AsianDhoti, but it is tailored to resemble trousers more than a skirt.
In Thailand, thechong kraben is typically worn by wrapping the fabric around the waist, extending the ends outward, twisting them together, passing the twisted portion between the legs, and tucking it into the waistband at the back. This practical design allowed for ease of movement and was commonly used in daily life as well as during formal or ceremonial occasions inThai history. Today, it is often seen in traditional dance performances, historical reenactments, and cultural festivals.
Pha nung (Thai: ผ้านุ่ง, Thai pronunciation: [pʰâː nûŋ]) is a traditional Thai lower-body garment made from a long rectangular piece of cloth wrapped around the waist and legs, resembling a skirt. It is traditionally worn by both men and women acrossThailand. The termpha nung can be used broadly to describe various types of lower garments in Thai culture, including region-specific styles.
One notable variant isPha sin (Thai: ผ้าซิ่น, Thai pronunciation: [pʰâː sîn]), a tubular skirt traditionally worn by women, especially inNorthern,Northeastern Thailand andLaos. Thepha sin is typically handwoven and decorated with intricate regional patterns. It is commonly divided into three sections: thehua sin (waistband),tua sin (main body), andtin sin (hem), each reflecting local artistry and identity.
Another widely used version isPha thung (Thai: ผ้าถุง, Thai pronunciation: [pʰâː tʰūŋ]), a cylindrical skirt sewn at the ends for convenience. Thepha thung is popular in daily life throughoutThailand due to its comfort, ease of wear, and versatility, often used at home, in markets, and even for bathing.
These garments reflect Thailand’s rich textile heritage, with variations in style, fabric, and pattern often indicating the wearer’s region, social status, or occasion.[7][8][9]
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Sabai (Thai: สไบ; Thai pronunciation: [sa.baj]), also known asPha biang (Thai: ผ้าเบี่ยง, Thai pronunciation: [pʰâː.bìaŋ]), is a traditional Thai shawl-like garment worn by both women and, occasionally, men. It is typically made of silk and consists of a long rectangular piece of fabric, approximately one foot wide, draped diagonally across the chest, covering one shoulder, with the end hanging down the back. The sabai could be worn over a bare upper body or layered atop another piece of clothing, such as a blouse or inner cloth which reflected both modesty and elegance and was commonly seen in the attire of noblewomen and members of the Thai royal court.
Historically, thesabai is part of a tradition of unstitched garments that was an integral part of traditional Thai attire, particularly during theAyutthaya and earlyRattanakosin periods that evolved from a long history of cultural exchange and indigenous innovation. Its form and the materials used to create it, such as silk and cotton, were significantly influenced by Indian textiles and fashion such as thesari anddupatta.[10] Thesabai and other draped clothing styles emerged from a dynamic process of synthesis between local traditions and the cultural and commercial influences that came to the region via extensive trade networks and early kingdoms likeDvaravati.[11] These interactions led to the adoption and reinterpretation of foreign elements into distinct Southeast Asian forms, in a process of mutual exchange.[12]
During the reign ofKing Chulalongkorn (Rama V, r. 1868–1910), Thai society underwent significant modernization and Westernization. Thesabai continued to be worn but was often paired withVictorian-style garments, reflecting a fusion of traditional and Western fashion. This hybrid style remained popular into the reign ofKing Vajiravudh (Rama VI, r. 1910–1925), when Western clothing styles began to dominate more formal and urban dress codes.
However, the use ofsabai as everyday wear declined sharply during the cultural reforms of Field MarshalPlaek Phibunsongkhram in the late 1930s and 1940s. As part of his nation-building and modernization campaign, Phibunsongkhram issued a series of cultural mandates, one of which promoted Western-style dress and discouraged traditional garments like thesabai, which were seen as incompatible with a "modern" national identity.
Despite its decline in daily use, thesabai remains a symbol of Thai cultural heritage and is still worn today in traditional ceremonies, classical dance performances, and historical reenactments, preserving its place in the rich tapestry of Thai history.
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Raj pattern (Thai:ชุดราชปะแตน, Thai pronunciation: [t͡ɕʰút râːt.pà.tɛːn]) refers to a traditional Thai men's outfit, or more specifically, to its signature jacket. It has similarities with theNehru jacket, but specific characteristics like a five-button front. This formal attire, introduced during the reign ofKing Chulalongkorn in the late 18th century, typically includes a high-collared white jacket with five buttons, worn with achong kraben, knee-length socks, and black leather shoes. Originally worn by government officials and the upper class inSiam, it became popular amongBangkok's elite and remains a symbol of national pride today.
In modern times, theRaj pattern is worn in a variety of ceremonial and formal settings, such as royal functions, weddings, ordinations, and even cultural festivals likeLoy Krathong. Style adaptations now include the use of premium fabrics like silk or fine cotton, and color variations such as cream, ivory, or even light pastels to suit different themes or skin tones. Some choose to pair the jacket with slacks for a more contemporary look, or coordinate accessories like metallic belts, cufflinks, or minimal jewelry to enhance elegance.
Despite its historical roots, theRaj pattern continues to evolve, blending tradition with modern style for a timeless, dignified appearance.
Ham sleeve blouse (Thai: เสื้อแขนหมูแฮม, Thai pronunciation: [sɯ̂a kʰǎn mǔː hɛ̌ːm]) is a traditional Thai blouse influenced by European women's fashion during the reign ofKing Chulalongkorn in theRattanakosin Kingdom.[13] It is a fitted lace blouse with ornate lace detailing, a tightly cinched waist, distinctive puffed upper sleeves that gradually narrow toward the tapered wrist.[13]
Historically, The ham sleeve blouse first appeared in the Siamese royal court around 1895-1896.[13] It was influenced by the ceremonial attire of royal ladies from Russian and Austrian courts, and some sources suggest influence fromVictorian era England.[13] The sleeve style, known in Europe as theGigot sleeve orLeg-of-mutton sleeve, was popular among European women in the early and late 19th century.
The blouse was made of European lace with boning for a fitted shape. It featured a high collar, a fitted waist, lace ruffles, and lace panels covering the shoulders and chest. Despite its European adaptation, the outfit retained traditional Siamese elements: wearing achong kraben, asabai, hair in a floral bun, long socks, and low-heeled square-toed shoes or boots. Exceptionally,Chao Dara Rasmi paired it with a traditionalsin luntaya. Accessories such as folding fans, drop earrings, layered pearl necklaces, and brooches with initials, flowers, or animal motifs complemented the outfit, often coordinated with the garment's color.
In Thailand, the style first appeared in official photographs ofQueen Saovabha Phongsri, the Queen Mother, andChao Chom Manda Chum during King Rama V's reign. It remained popular in the royal inner court during the late reign of King Chulalongkorn, but eventually fell out of favor and was replaced by long-sleeved lace blouses that lacked the puffed sleeve.
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Thekhrui (Thai:ครุย,pronounced[kʰrūi]) is a light outer garment worn as a gown orrobe in certain ceremonial settings inThailand. It is long-sleeved and open at the front, and is made of a sheer or mesh fabric, lined with a band of satin, felt or other material, and may be exquisitely embroidered. Dating from at least the 17th century, it was originally worn only in the royal court, but nowadays is most recognisable as the form ofacademic dress employed by many universities, especiallyChulalongkorn University.
The exact origins of thekhrui are not known, although it has been postulated that it was likely of Persian and/or Indian import.[14] The earliest documentation of its use are from illustrations of the French embassy to KingNarai in 1685 andthat of Siam to France in 1686, showing the Siamese king and ambassadors wearing such garments. Use of thekhrui continued into theRattanakosin period, as evidenced by mention in the 1804Law of Three Seals prohibiting its use by junior government officials.[15]
KingVajiravudh (Rama VI) further codified thekhrui's use by royal ordinance in 1912, specifying the different types and ranks to be worn by entitled royals and government officials.[16] He later also granted permission for it to be used as theacademic dress of the Royal Pages School (Vajiravudh College) in 1913 and Siam'sBar Association in 1915.[17][18] It was adopted as the academic dress for graduates ofChulalongkorn University in 1930.[19] Since 1967, some other universities have also adopted thekhrui as their academic regalia, and the termkhrui has acquired the more general meaning of any style of academic orcourt dress.
Pha khao ma (Thai:ผ้าขาวม้าThai pronunciation:[pʰâːkʰǎwmáː]) is a versatile plaid fabric woven for centuries in Thailand. It serves numerous purposes, including being worn as a waistband by Thai men, used as a handkerchief, fan, or head covering to protect against the sun, and even used as a makeshift cradle or to carry goods. The cloth's practicality and sustainability have attracted the attention of designers in the fashion and interior design industries.[20] The wordKhao ma is derived from thePersian wordKamarband, meaning waistband or belt.[21] This cloth has become an omnipresent item in Thai society. Its recognition as a national cultural heritage in Thailand and nomination forUNESCO World Heritage status in 2027.[22]
Tabengman (Thai:ตะเบงมานThai pronunciation:[tá.bēng.māːn]) is a traditional Thai cloth that originated during the lateAyutthaya period. It consists of a piece of cloth that covers the chest and is tied behind the neck.[23] It remains an important part of Thailand's cultural heritage and history, and continues to inspire contemporary fashion designers and artists. It has been featured in national and international events,[24] and the clothing worn by the main character in the 2021Disney filmRaya and the Last Dragon, which is inspired by traditional Southeast Asian cloth including Tabengman.[25]
The various regions and ethnic groups of Thailand have rich and distinctive clothing and textile traditions, with each community expressing its cultural identity through unique patterns, weaving techniques, and garment styles.
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Suea pat (Thai: เสื้อปัด, Thai pronunciation: [sɯ̂a.pàt]) is a traditional long-sleeved blouse commonly worn by women inNorthern Thailand,Laos and amongTai peoples, particularly in the historical region ofLanna. Characterized by its lack of buttons, the blouse is worn by wrapping the right side of the front panel over the left, and securing it with fabric ties or strings. The design provides both elegance and practicality, suitable for the region's temperate climate and cultural customs.
Historically, thesuea pat was an essential part of Lanna women's traditional dress, often paired with asabai (shawl) and apha sin (tubular skirt). It was especially popular inChiang Mai,Lamphun, and othernorthern provinces, where it featured in both everyday wear and formal attire. The materials and patterns ofsuea pat garments varied according to the wearer’s social status, with handwoven cotton used for daily use and finer silk versions reserved for ceremonies and festivals.
Thesuea pat reflects the aesthetic values and craftsmanship of Northern Thai textile culture, including the use of natural dyes, intricate weaving techniques, and motifs unique to Lanna identity. Although Western-style clothing became more dominant in the 20th century, thesuea pat remains an important cultural garment and is still worn during traditional events, temple festivals, and regional cultural celebrations. Its continued presence in modern Thai fashion underscores the ongoing revival and appreciation of local heritage.
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Banong (Thai:บานงThai pronunciation:[bāː.nōŋ]) orBaju Kurung is a type of blouse traditionally worn by women in the southern border provinces of Thailand, includingPattani,Yala, andNarathiwat.[26] It has a collar and is cut in front, with a folded placket all the way to the hem. The fabric used to make Banong is often thin and sheer, and may be embroidered with patterns on the hem. It is typically worn during religious and cultural events like weddings, funerals, and dance performances. The nameBanong comes from the wordBandung inMiddle Malay, which refers to a city in the west ofJava Island,Indonesia. While Banong is popular among Thai Muslims in the southern border provinces, it is also worn by Thai Buddhists and Thai Chinese in the region.[27][28]
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Kebaya (Thai: เกอบายา, Thai pronunciation: [kəː.baː.jaː]) andBaba Nyonya (Thai: บาบ๋า-ย๋าหย่า, Thai pronunciation: [baː.bǎː jáː.jàː]) a traditional blouse characterized by its open front and delicate tailoring, commonly made from lightweight fabrics such as silk, cotton, voile, or lace. Decorative elements like embroidery and lacework are often featured, and the blouse is typically fastened with buttons or brooches. It is usually worn with a long lower-body wrap, known as asarong,kain, orkemben, which is draped and tucked around the waist or under the arms. These wraps may be made from distinctive textiles such asbatik,ikat,songket, ortenun.
Recognized as a national costume inIndonesia, thekebaya holds strong cultural associations withJavanese,Sundanese, andBalinese heritage. In neighboringMalaysia,Singapore, andBrunei, it is also regarded as traditional attire, especially amongMalay andPeranakan communities. Within these contexts, the complete outfit is often referred to as a “sarong kebaya,” with regional variations in design and textile motifs.[29][30]
Insouthern Thailand, particularly in provinces around theAndaman Sea likePhuket,Krabi,Phang Nga,Ranong,Trang andSatun where are the heart of diversity in culture and practices ofPeranakan communities. It is also typically worn by the muslim population inPattani,Narathiwat andYala. Thekebaya remains part of the cultural identity of the local population. It is worn during festivals, community gatherings, and religious events, serving as a symbol of shared heritage and regional ties between the Southern Thai and the wider cultural sphere.
Today, thekebaya continues to serve not only as traditional dress but also as a symbol of modernSoutheast Asian elegance. Its iconic presence is evident in the uniforms of several national airlines, includingSingapore Airlines,Malaysia Airlines,Royal Brunei Airlines, andGaruda Indonesia, where stylized versions of thekebaya are worn by female cabin crew.[31][32][33][34]
In a landmark effort to preserve and celebrate regional heritage,Indonesia,Malaysia,Singapore,Brunei andThailand submitted a joint nomination in 2023 for thekebaya to be included on theUNESCO Intangible Cultural Heritage Lists. This collaborative recognition underscores the kebaya’s cultural significance across borders and its enduring role in representing Southeast Asian identity.[35]
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The formal Thai costume,ชุดไทยพระราชนิยม (RTGS: chut thai phra ratcha niyom, literally, 'Thai dress of royal endorsement'), includes several sets of dress, designed as the Thainational costume at formal occasions. Although described and intended for use as national costume, it is of relatively modern origins, having been developed in the 1960s under the guidance of Her MajestyQueen Sirikit, the Queen Mother. She worked with skilled artisans and scholars to improve traditional craftsmanship and create a unique national identity for Thailand.[36] Which later led to several styles of the Thai National Dress, including Thai Boromphiman, Thai Siwalai, and Thai Chakri.[37] Each style combines traditional Thai artistry with modern design for formal and diplomatic occasions.
During the 1960 state visit to western nations,Pierre Balmain andFrançois Lesage supported Her Majesty’s vision by designing matching outfits, using local Thai silk from different regions of Thailand together with the cooperation of the SUPPORT Foundation.[38] Their collaboration promoted Thai craftsmanship worldwide and highlighted the cultural importance of Thai textiles. In 1976, the Queen Mother took her mission further by founding the Support Foundation.[39] The organization aims to preserve Thailand’s textile heritage and support traditional silk weaving in rural communities.
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Lomphok (Thai:ลอมพอก,pronounced[lɔ̄m.pʰɔ̂ːk]; literally, "piled up [and] layered [wrapped head cover]")[40] is a ceremonial headgear of Thailand, historically worn by royalty and nobility. It is a tallpointed hat, made of white cloth wrapped around a bamboo frame. Thelomphok is believed to have been adapted from the turbans ofSafavid-dynasty Persia during theAyutthaya period, and its use is extensively documented by European writers who came into contact with Siam during the reign of KingNarai.[41] In particular, its use byKosa Pan and the other diplomats of theembassy to the court of Louis XIV in 1686 became a sensation in French society.[42] Today, thelomphok can be seen worn by officials in theRoyal Ploughing Ceremony androyal funeral processions.
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cahebay 'hang'
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