Back in 2005, when Her Majesty the Queen set about organising the revival of khon, one of Thailand’s oldest narrative dance forms, one of her first initiatives was to assemble a research team to discover what the costumes might have looked like in the past. Once this historical evidence had been collected, she selected specialists to design new costumes to fit contemporary body forms and set in motion a series of weaving, embroidery, mask and jewellery-making workshops so that all aspects of khon costumes could be produced.

The exhibition “Dressing Gods and Demons: Costume for Khon”, currently showing at the Queen Sirikit Museum of Textiles, describes the origins of khon and its historical presentation and also highlights the modern khon costume created for the revival of this high art form. More than 100 items are on view, many of them on loan from collectors and making their first public appearance.

On entering the galleries, visitors first learn about the early history of khon through one of the oldest panels still in existence. Painted in black and gold lacquer and used in performances from 1851 to 1868, it depicts a royal rite called “The Churning of the Ocean” ceremony and is usually on display at the museum of the Emerald Buddha Temple. There is also a reference costume on a doll-like model that is thought to show what a khon costume might have looked liked early in the reign of King Rama V.

Because so little visual evidence has survived, khon under the royal patronage of Her Majesty uses modern versions of the ritual dress of King Rama V’s court, which are abundantly documented through photographs.

Today, as they did in the past, artisans from different fields work together as they create masks, weave textiles in different patterns and styles for particular characters, and add intricate embroidery to the magnificent costumes and sets that have been adapted to suit modern staging and the proportions of performers.

Visitors can take a rare close look at the costumes of role-specific motifs such as flowers (worn by monkeys) and demon faces (worn by demons), which are incorporated into the embroidery. The jewellery is also custom-made and handcrafted in one of several workshops with the same casting and repousse techniques used in creating the real thing, so that even on careful examination, the modern khon costumes are as beautiful close up as they are from far away on the stage.

Through the Support Foundation, Her Majesty commissioned a new theatrical interpretation based on what was known about earlier court versions of khon. The first show in 2007, “The Ramakien Performance Episode of Prommas”, was so well received that the Queen requested it be an annual event. Her Majesty thus gave new life to the design of khon costumes and provided employment for craftspeople, dancers and musicians.

Handmade finery

“Dressing Gods and Demons: Costume for Khon” will be on display until the end of May in Galleries 3-4 of the Queen Sirikit Museum of Textiles.

The museum is inside the Grand Palace and open daily from 9am to 4.30pm. Ticket sales close at 3.30pm.