By the early 20th century, silversmiths in Malaya – both Malays and Chinese – had begun to diversify their wares to cater to the changing tastes particularly of the elite class, who started gaining an appreciation of and preference for European-inspired objects and accessories. Even so, these silversmiths continued to incorporate motifs and designs using local aesthetics which continue to be favoured. This chased silver mirror frame is a fine example of such cultural blending. Building on a stand mirror frame filled with pewter for added weight, the body is made up of beaten silver sheets which is then enhanced with chased foliage; its spherical centre is also reminiscent of cembul (betel nut boxes) designs with its tampuk manggis (mangosteen crown) motif.