Pierre Balmain’s Designs for Queen Sirikit of Thailand
You have heard of Pierre Balmain and you probably also know Her Majesty Queen Sirikit of Thailand. But did you know that Balmain was in charge of a big part of Her Majesty’s wardrobe for over 20 years? And much more than that – together they not only put Thailand on the global fashion map but they also heavily influenced Thai national dress.
This year, I visited the Queen Sirikit Museum of Textiles in Bangkok and their current exhibition “Decades of Style” which sparked my interest in the topic. If you happen to be in Bangkok, or if you travel there, I highly recommend visiting the museum, it is very interesting to learn more and also see many of these beautiful garments in person. I wanted to learn more about Her Majesty’s outfits but I learned much more than that: I discovered this interesting fashion collaboration which is more than just a mere mix of East and West. It shows that fashion can be an important vehicle delivering key messages and it is also the story about a friendship between a queen and a couturier.
You can also watch my video here:
It All Started with a Royal Tour
Before we dive into the outfits and designs, it is necessary to understand the context. In 1960, their Majesties King Bhumibol Adulyadej and Queen Sirikit of Thailand, the parents of the current King, went on a long trip of state visits in America and 14 European countries. Both had been exposed to the West – the King was born in Cambridge, Massachusetts, and later grew up in Switzerland and the Queen lived in Europe when she was a teenager. But this trip had a very big mission: it was their formal introduction to the West. At the time, Thailand was of major importance to America in terms of geopolitics and received a lot of aid. Therefore, the American and Thai administrations worked closely on this tour – which heavily focused on America (the couple spent a full month in America). It also elevated Thailand’s profile abroad and put it on the global map. The royal couple was welcomed by President Eisenhower who also hosted a state dinner at the White House, the King addressed Congress and crowds welcomed them at a parade in New York City and at the many visits of public institutions throughout their trip.[1]
While this trip was clearly politically motivated, the role of fashion cannot be underestimated. Fashion is often dismissed as something superficial. And in many ways, it can be, but this example illustrates the power of fashion and which messages can be delivered with the little details. Queen Sirikit of Thailand, who is today called Queen Mother, knew about this importance – she knew the public would closely watch her wardrobe and that she could use it to connect with the American and European public. And she was right – all eyes were on her and her wardrobe. The coverage on her outfits was not limited to the countries the couple visited – it felt like the whole world was in awe with the beautiful young Queen and her wardrobe. After the trip, she was on several Best Dressed Lists and she inspired further designers. However, Her Majesty was concerned that she would only be known for her wardrobe and style rather than her many other interests and activities. But I think she did not need to worry, as she managed to draw attention to many more topics beyond fashion. Until today, Her Majesty is known for her support of many charitable organisations and also the empowerment of women with her programmes.[2]
Such a long trip to different countries and climates had to be meticulously planned and to decode the Western fashion etiquette, Her Majesty collaborated with none other than Pierre Balmain. He not only designed the wardrobe of this trip but also went on to have a professional relationship with Her Majesty for over two decades. She even called him a “dear personal friend”[3]. Throughout this development, it is obvious how Her Majesty’s confidence in her style increased. At the same time, Balmain’s handwriting is still very obvious.[4]
At the time, it was common for female monarchs, royal representatives and first ladies to wear bespoke garments by designers from their home country or Paris – Elizabeth II worked with Norman Hartnell for decades, Jacqueline Kennedy famously wore Oleg Cassini, Halston and Hubert de Givenchy. Hence, a similar approach would have been expected from the Queen Mother. However, at the time, there were no internationally known designers in Thailand for the reason of how the textile industry worked in the country at the time. Urai Lueumrung, Her Majesty’s dressmaker, advised her that Thai dressmakers would struggle to make garments from wool, fur or garments which are simply not worn in Thailand such as overcoats or gloves. Furthermore, he argued that the local dressmakers had limited knowledge about the complicated Western royal etiquette. Therefore, it would be advisable to turned to a Parisian couturier. Even the Thai government was supportive of this approach; they initially suggested the House of Dior. But the Queen Mother chose differently.[5]
Why Pierre Balmain?
As mentioned before, many names would come to mind to dress a queen. Why did the Queen Mother choose Pierre Balmain? It could be said, it was some kind of accident – Balmain happened to be in the right place at the right time. He was travelling back home from a holiday in Australia via Bangkok where was introduced to an influential French interior designer called Farncois Duhau de Berenx who lived in Bangkok. He introduced Balmain to people of Her Majesty’s circle and also to Jim Thompson, an American running a silk business in Thailand who also co-founded Bangkok’s first hotel – the Oriental, which is the Mandarin Oriental today. Thompson was a colourful personality and there are many tales around this American businessman, one is that he may have been an agent.[6]
It is likely that Balmain met Urai Lueumrung either through Duhau de Berenx or Jim Thompson – or both – who then recommended to Her Majesty to invite Balmain to an audience. Lueumrung thought that Balmain’s designs were simple but smart and that they would be a great fit for the Queen. It is very likely that Her Majesty herself was aware of his designs before meeting him, as he had established himself in Paris and internationally. Furthermore, the Queen Mother also read French fashion magazines. After receiving the official invitation, Balmain returned to Bangkok in October 1959 and met with Her Majesty several times to discuss the “simple, uncluttered style”[7] of the travel wardrobe. The King awarded the French couturier full responsibility over the travel wardrobe and Balmain said that dressing a young Queen “is a joy”[8] and “the most marvellous [sic] assignment that a couturier could hope to have”[9].[10]
This article is not going to cover Balmain’s life, to keep it simple I will give you a few cornerstones which are important to understand his work with the Queen Mother. For four years, Balmain worked for Edward Molyneux in the 1930s – his passion for simplicity, flowers and the colour beige reveal Molyneux’s influence. After that, he spent seven years working for Lucien Lelong (where he also worked with Christian Dior) who ran his own Maison and who was the head of the Chambre Syndicale de la Haute Couture. Balmain very likely learned a lot from Lelong but also Molyneux about how to run a big couture house and fashion brand. After the war, Balmain started his own Maison in 1945 – his first collection under his own name was described as simple with “a slight touch of the East”[11]. Maybe he already knew about his future mission? His house grew fast and by the early 1960s, he employed 600 people. He expanded his business internationally and travelled a lot to promote it. Furthermore, he had experience in dressing European royalty – a fact which most likely reassured the Queen Mother.[12]
The Outfits
Couture clients who lived in and around Paris or who could travel there usually came for three fittings – which sometimes could take hours. But as we are talking here about a royal client, Balmain went to see the Queen Mother in Bangkok. In 1959 he most likely had taken her measurements to make a custom dress form and he was probably also informed about her colour and fabric choices. Maybe he even sourced some of the fabrics he planned to use during that visit in Bangkok. Furthermore, it is assumed that he only started designing for the royal tour after he finished his Spring 1960 collection, which would also mean that the Queen Mother had access to his most recent creations.[13]
The Queen Mother chose at least nine outfits from this Spring 1960 collection – some were taken exactly as they appeared on the runway, some were customized in terms of colour, for example. The remaining outfits for the trip were custom designs but were also based on Balmain’s key design elements. It is likely that sketches were sent back and forth between Paris and Bangkok to finalise the garments. The correspondence has never been made public, so we can only assume. One dress needs to be discussed in this context – it is a colourful design from 1969, with Lesage embroidery creating a stained glass window effect. It is known that Balmain made at least one other example of this model – it was seen on client in 1973 at a fashion show. Therefore, we know that an outfit was not immediately retired by Balmain if the Queen Mother chose it from his collection.[14]
Creating the wardrobe was a big affair – it involved many more people than just the two main “actors” Balmain and the Queen Mother. It not only involved Balmain’s team but also a team of advisors and dressmakers at the Thai court. Already before the trip, the Queen Mother had long been exposed to Western fashion, as Thai court fashion had developed from traditional local garments with draping and wrappings to Western garments from the 1850s to the 1930s. Her goal was to represent the women of her country and she insisted on incorporating Thai details into the wardrobe for her trip. The Queen Mother was not only passionate about fashion, she was also adamant in communicating the Thai identity. Already in the late 1950s, she and her team worked on a contemporary version of the Thai national dress which is discussed below. She also asked Balmain to reference Thai details, hence, he included Thai silk supplied by Jim Thompson. In addition to the use of Thai silk, he incorporated further Thai textiles, patterns and also referenced Thai art in the embroideries. This Thai identity became more defined over the years. For this first tour, the influences were rather subtle, most of the tailoring was done using Western techniques, the fabrics such as the silk were Thai. Over time, the Thai handwriting became more defined and obvious. In 1962, Balmain designed a day dress with a detail around the waist resembling the Thai flag. This is probably a rather “blunt” reference, but throughout their collaboration, the Thai influence became more and more visible and refined.[15]
Balmain travelled to Bangkok with the whole wardrobe in spring 1960 – it can be assumed that it was in May, shortly after an order at Louis Vuitton for the royal couple’s luggage was delivered to him. Each trunk was numbered and featured the a royal cipher and painted stripes in the colours of the Thai flag. He was accompanied by Erik Mortensen who was in charge of fitting. A lot of supplies such as fabrics, pins and other tailoring equipment had been sent to Thailand in advance. It is assumed that they stayed in Bangkok for three weeks for the fittings – which were scheduled every second afternoon. We can also assume that most of the design and embroidery work had been finished in Paris and most of the garments were either finished or at least cut and basted.[16]
The wardrobe for this trip involved daytime attire, cocktail and evening dresses and overcoats for every occasion and Thai national dresses. Balmain knew his brief very well, he wanted the Queen Mother to look elegant, not antiquated and with an identifiable silhouette. He did turn to his regular collection which also reflected the changes of the time: suit cuts became more relaxed while the evening dresses still referenced the 1950s silhouette. For the daytime outfits, the Queen Mother and Balmain opted for clean lines to suit her small and slim figure. Most of the clothes were made of the same structure: straight, hip-length, solid colour jackets in a cardigan or man-tailored style in Thai silk with matching dresses or slim skirts and contrasting blouses. Many of these jackets were worn open. Very often, the silk for the blouses (solid or printed) was used as lining of the inner jacket. This is similar to Chanel’s philosophy (you can learn more about this in the article about 7 Basic Fashion Facts about Coco Chanel). One example of this matching is a jacket from this collection for the first tour in 1960 with embroidery matching the lining which takes this “matching” to the next level.[17]
And coming back to the overall fashion trends of the time: One special outfit is a coat made from Thai silk – with a plaid pattern in black and white, the lining references the yellow belt with bows worn over a silk dress. This coat is already a hint at overall fashion movemens in the 1960s. The Queen Mother wore it in New York in July and Rome in September and is a great example of the wardrobe – it is modern yet chic and suitable for a young Queen. When looking at the formal dresses, Balmain’s handwriting becomes very clear: A floral embroidered gown was heavily covered in the media and a beautifully silver-embroidered gown illustrates Balmain’s passion for the 18th century. The Queen Mother actively avoided strapless dresses, even though they were in fashion. The may have been too revealing on the one hand. On the other, it could be a practical reason: she needed an anchor for the sash of rank which she often wore.[18]
As mentioned previously, Thai silk was a major characteristic of the wardrobe for the trip – supplied by Jim Thompson, it showed a strong link to Thailand even when Balmain created Western-style garments. The Thai identity was important, but some reporters misunderstood it or blew it out of proportion: Some wrote that the colour choices related to the hues linked to a particular day of the week in Thailand, even though there is no proof that the Queen Mother or Pierre Balmain actively considered that.[19]
The hats, fur coats, stoles and trims were made in-house specifically for every outfit. The shoes were made by René Mancini who was a supplier of many Paris couturiers. Remember: This was the time before Coco Chanel revolutionized fashion with her two-toned shoes. Every outfit needed a customised pair of shoes. At the time, gloves were still considered appropriate and Balmain advised Her Majesty to wear white ones as they would match most outfits. And just one tiny detail: While Balmain was in charge of her wardrobe, Her Majesty also sourced some pieces independently from other Maisons, such as Dior. Nevertheless, the vast majority of outfits and accessories was by Balmain. Probably one of the most important partners for Balmain was Lesage, a very famous embroidery house in Paris which still supplies haute couture. Usually, Lesage created seasonal embroideries which were then chosen by the couturiers but they also worked on custom orders and most likely, all of the embroidery of the Queen Mother’s garments was bespoke. This embroidery then also “dictated” the cut of the garment in a certain way. The work process was the following: some samples were sent to Balmain, once he made his choice and the design was approved, the dress was cut at Balmain’s and the pieces were then sent to Lesage to be embroidered. The final touches – e.g. extension of the motifs on the seam lines – would be added by Lesage after the construction of the garment.[20]
Balmain’s designs for the Queen Mother also reflected his signature use of different materials to create textured surfaces. Furthermore, he was heavily inspired by 18th century Europe (a passion he shared with Lesage) and traditional Thai motifs. Balmain created a range of Western-cut ensembles made from silk and metal-thread brocade from Thailand like a dress with a blush Thai silk train or an evening dress in gold which was sketched in several fashion magazines. The latter involved a Thai-style belt: The original was made from solid gold; today’s version exhibited at the museum is gold-plated. Lesage also developed methods to embroider Thai as well as Western textiles – for example, the outfits made of densely patterned Thai gold metal and silk brocades (phaa yok) featured embroidery complementing the brocade pattern. The same embroidery was used for Thai-style garments made from Western fabrics. One example is a beautiful ensemble worn by Queen Mother during a state visit in Iran in 1967. Balmain often matched the embroidery on plain silk with the paired brocade but he used a different scale. A particularly interesting example is a dress from 1965, where Thai-inflected floral motifs arranged in a manner of 18th century French brocades – a “typical” Balmain/Lesage design.[21]
For at least one of the embroidered shoulder cloths (saphak) of a Thai national dress, Lesage used the “jewel-beetle” wings from northeastern Thailand. I also spotted an ensemble at the Museum from the 1990s using the jewel-beetle’s wings. This beetle has to die a natural death and then its green wings become very hard and can then be used for embroideries.[22]
The Tour
On 14 June 1960, the couple left for America. The Queen Mother wore a Thai-style dress when leaving for their first destination Hawaii. Before their arrival in Honolulu, she changed into a pink silk Balmain dress. This switch from Thai national dress to Western outfits was repeated throughout the journey. Two ladies-in-waiting travelled with the Queen Mother. Their task was to look after her wardrobe; a third lady-in-waiting was in charge of her jewellery. As the couple was travelling constantly, often only staying one night in a place, the wardrobe was very complex. Her majesty usually changed four times a day and often only had little time to do so in between her commitments. Hence, Balmain had carefully prepared everything – remember the numbered Louis Vuitton-trunks which I mentioned before? They were part of Balmain’s meticulous planning system. He had prepared detailed lists, even fabric swatches. It became less complicated once the couple reached Europe, as they had their base near Lausanne, Switzerland, where the King had grown up. From there, they went to the respective countries for state visits. Balmain, Mortensen and Madame Ambroisine, the première, the head of the workroom, could fly in over the weekend and plan further outfits or bring new clothes. In October, the couple visited Paris briefly and the Queen Mother also visited the Maison Balmain – the first and only time. To honour her visit, Balmain organized a private fashion show with ensembles from his Fall 1960 collection.[23]
While the media reports in Thailand focused more on the political dimension, the Queen Mother had been right about the attention she would receive for her fashion. International newspapers disproportionately reported about her wardrobe – some inflated the number of garments, some made predictions about Thailand’s future influence on Western fashion. Photos of this tour would be printed long after the couple had returned – some magazines used them until 1964 and some argue that there were only a few other royals whose fashion would be discussed as much as the Queen Mother’s. In 1960, the Queen Mother made it onto the Best Dressed List – an invention by Eleanor Lambert who is mentioned in the article about the history of fashion week. In 1965, the Queen Mother was added to the Best Dressed Hall of Fame and in the same year, American Vogue published a ten-page editorial about the Thai court, the photos were shot by Henry Clarke. Vogue was not the only magazine covering the young Queen and her fashion. Balmain’s orange dress with embroidery from 1962, called “Marly”, was also featured in L’Officiel de la Mode and “Concerto”, a yellow silk ensemble was printed in L’Art et la Mode. One general remark, if you are not too familiar with Thailand: Yellow is a colour which we can see throughout Balmain’s creations for The Queen Mother. It is the colour of the Thai King and, therefore, it is probably no coincidence why this colour is so prominent in the Queen Mother’s wardrobe.[24]
This tour was the longest, but not the only one – others followed throughout the 1960s including Austria in 1964, UK and West Germany in 1966 and the previously mentioned Iran in 1967; the royal couple also visited America in the same year. Balmain kept designing the wardrobe and over time, most of her Balmain-garments became custom-orders. Balmain and Mortensen kept travelling to Bangkok several times a year for fittings in the 1960s.[25]
I would like to address one important thing here: Quite a few journalists claimed that Her Majesty only wore each outfit once. They may have been right in the sense that she only wore an outfit in one destination once, as wearing it several times may have been seen as disrespectful at the time. But the Queen Mother re-wore her Balmain wardrobe, and her wardrobe in general, many times and also had the garments altered or fixed – sometimes even by Madame Leclerc, who was the head fitter at Balmain in the 1960s. Madame Leclerc came to Bangkok twice a year to repair and alter garments. The Queen Mother also emphasized in interviews that she wore designer clothes for several years before replacing them.[26]
The Legacy after the First Tour & the Development of the Queen Mother’s Mission and Style
As mentioned previously, this first round of collaboration with Balmain still leans more towards Western-style clothing with a subtle Thai influence. Over time, it becomes clear how much more importance the Thai aspect gained in importance and this also went hand-in-hand with the confidence the Queen Mother gained, not only relating to her style but also when it came to her mission of bringing Thailand to the world and empowering artisans. In the 1970s, traditional handwoven Thai village textiles were used for her Western wardrobe. Lesage adapted their strategy. Previously, they followed the big patterns with their embroideries. With the use of handwoven Thai village textiles, the source of inspiration for the embroideries was taken from Thai art – flames, lotus flowers, palmettes. Lesage got access to Thai art via books brought back by Erik Mortensen and Pierre Balmain from their Bangkok trips.[27]
I already mentioned that the Queen Mother’s own handwriting and the importance of Thai craft became stronger and stronger over time. In the mid-1960s, she began to work with women in rural Central Thailand – traditional handweaving should offer them a sustainable income. In the 1970s, also Northern Thailand was added. The royal couple frequently went to Isaan. a region which has suffered most from natural disasters and economic issues. According to the Queen Sirikit Museum, the tasks were split: King Bhumibol brought farming to the region to empower the men, while Queen Sirikit focused on the women with her weaving initiatives. It is also said that the Queen Mother was very “approachable”; she dined with the women and discussed fashion and textiles. By wearing traditional Thai textiles, the textiles of the ordinary Thai people, instead of expensive textiles like brocades, textiles of the ordinary person like the “mat mii” (also known as “ikat”), not only put them on the global fashion map but also re-established them across Thailand.[28]
Mat mii soon became a signature of the Queen Mother. Some of the early examples of incorporating mat mii are two dresses from 1972. The idea is already there, but we can tell that Balmain had not yet found his “groove” with the textile yet. A dress from 1979 looks much more sophisticated. It is likely that the Queen Mother turned to Mortensen for this design, who was a bit more open to the textile than Balmain. It works because of the simple lines which do not clash with the relatively heavy pattern of the ikat and also features the embroidery in the right places picking up the ikat’s colours. This may have been the reason why Mortensen and not Balmain travelled to Bangkok in 1980 to discuss mat mii garments for her state visit to Japan.[29]
This was not the only way of how the Queen Mother elevated local techniques, patterns and materials. At the exhibition “Decades of Style”, there was a coat made from a textile which looked a bit rough – it was made using the outer part of the silk cocoon. The silk worm produces three layers – the very inner part is the really fine silk, also called silk satin. The most outer part is really coarse und usually discarded. But the Queen Mother is very mindful about not wasting materials and hence, had garments made from the outer shell silk.[30]
Naturally, also current fashion trends were reflected in Her Majesty’s wardrobe, hence, As mentioned in the article about the Capri pants, trousers went hand-in-hand with the women’s rights movements, especially in the 1960s. Balmain also designed trousers but judging from the literature and the museum visit, no trousers were designed for the first tour and it is unlikely that she wore them in the 1960s. It is possible that they may have been considered too casual. Also remember, this was the time when women were still prohibited from entering some places, if they wore trousers. This garment may have been too “politically-loaded” for a Queen. The Queen Mother opted for trousers later, an example from about 1970, but then they were often concealed like in this case with a sleeveless wrapped overdress.[31]
A Revised Contemporary Thai National Dress Designed by Queen Sirikit and Pierre Balmain
Another fact which many people do not know: The modern Thai national dress was heavily shaped by the Queen Mother and Pierre Balmain. These contemporary versions are based on the Thai court dress of the late 19th and 20th century, on the court dress at the time of King Chulalongkorn (who reigned from 1868-1910). Already in the late 1950s, the Queen Mother and her team worked on new interpretations of the Thai national dress for the tour in 1960. But from 1963 onwards, it was done in collaboration with Balmain and Lesage.[32]
The result was eight styles of Thai national dress in the early 1960s. These styles also considered that many Thai people found wrapping the traditional dress too cumbersome for daily use. Therefore, they came up with pre-tailored solutions inspired by Western garments. These eight styles also reflect the occasions to which the dress can be worn – from more casual to very formal. The Queen Mother wore a version for official state visit to Austria with two trailing shoulder cloths.[33]
Special thanks to the Queen Sirikit Museum and Khun Nachanok for the private tour and the materials supplied.
Footnotes
[1] Queen Sirikit Museum of Textiles 2016, p.7-11.
[2] Queen Sirikit Museum of Textiles 2016, p.7-11.
[3] Queen Sirikit Museum of Textiles 2016, p.11.
[4] Queen Sirikit Museum of Textiles 2016, p.7-11.
[5] Queen Sirikit Museum of Textiles 2016, p.11-13.
[6] Queen Sirikit Museum of Textiles 2016, p.13.
[7] Queen Sirikit Museum of Textiles 2016, p.13.
[8] Queen Sirikit Museum of Textiles 2016, p.13.
[9] Queen Sirikit Museum of Textiles 2016, p.13.
[10] Queen Sirikit Museum of Textiles 2016, p. 8-14.
[11] Queen Sirikit Museum of Textiles 2016, p. 14.
[12] Queen Sirikit Museum of Textiles 2016, p.11-16.
[13] Queen Sirikit Museum of Textiles 2016, p. 17-19.
[14] Queen Sirikit Museum of Textiles 2016, p. 17-21+166.
[15] Queen Sirikit Museum of Textiles 2016, p.7-11+80.
[16] Queen Sirikit Museum of Textiles 2016, p. 17-21.
[17] Queen Sirikit Museum of Textiles 2016, p. 17-21; 23; 204-205.
[18] Queen Sirikit Museum of Textiles 2016, p. 21-23, 130+136.
[19] Queen Sirikit Museum of Textiles 2016, p. 21-26.
[20] Queen Sirikit Museum of Textiles 2016, p. 21-27+221.
[21] Queen Sirikit Museum of Textiles 2016, p. 21-29, 125, 146-151+178, Queen Sirikit Museum of Textiles 2024.
[22] Queen Sirikit Museum of Textiles 2016, p. 21-29, 125, 146, Queen Sirikit Museum of Textiles 2024.
[23] Queen Sirikit Museum of Textiles 2016, p. 30-32.
[24] Queen Sirikit Museum of Textiles 2016, p. 30-36, 156+158.
[25] Queen Sirikit Museum of Textiles 2016, p. 30-36, 156+158.
[26] Queen Sirikit Museum of Textiles 2016, p. 30-39.
[27] Queen Sirikit Museum of Textiles 2016, p. 21-29.
[28] Queen Sirikit Museum of Textiles 2016, p. 30-40, Queen Sirikit Museum of Textiles 2024.
[29] Queen Sirikit Museum of Textiles 2016, p. 30-40, 186-190, Queen Sirikit Museum of Textiles 2024.
[30] Queen Sirikit Museum of Textiles 2024.
[31] Queen Sirikit Museum of Textiles 2016, p. 170.
[32] Queen Sirikit Museum of Textiles 2016, p. 177-183, Queen Sirikit Museum of Textiles 2024.
Sources
Information proved during the author’s visit of the Queen Sirikit Museum of Textiles by Khun Nachanok (Paint), Bangkok, January 2024.
Queen Sirikit Museum of Textiles, Decades of Style. The Royal Wardrobe of Her Majesty Queen Sirikit, Bangkok 2022.
Queen Sirikit Museum of Textiles, Fit for a Queen. Her Majesty’s Queen Sirikit’s Creations by Balmain, Bangkok 2016.
Picture Sources Title Image
Queen Sirikit Museum of Textiles, Fit for a Queen. Her Majesty’s Queen Sirikit’s Creations by Balmain, Bangkok 2016, p. 30, 32 + 138.
Disclaimer
This article is based on the personal, views, experiences and research of the author, no fees were received by the organisations and people mentioned above. All information as of the date of publishing/updating.