A man's headdress today acts as a practical and stylish item of clothing, that is, it is used to protect against weather conditions and also emphasize your individual style. A few centuries ago, with the help of such products, men emphasized their social status, belonging to a particular clan, rank and even age. Some ancient men's hats have not lost their relevance today.
They changed and went through stages of transformation as power, fashion and priorities changed. Today the population of Russia is reviving the spirit of patriotism and knowledge regarding national Russian costume, so many Slavic headdresses are being revived again. Of course, men do not have to wear national hats and other items of clothing in everyday life, but it is important to know your customs and history.
Any men's headdress in Rus' suggests its own individual history, shape and appearance, traditions and customs. Experts note that the history and varieties of Russian headdresses are a very interesting subject for study and research. Today, many countries and states present their national costumes at holidays and international celebrations, including Russia, which is rich in its ancient models of headdresses.
Cap
This headdress originated many centuries ago, and the word itself is of Turkic origin. The traditional headdress of Slavic men, the cap, had a cone-shaped, pointed shape, and it was sewn mainly from snow-white silk and satin. Russian caps were decorated with pearls, trimmed with natural fur around the edges, precious stones.
Caps were worn by both rich men (caps made of velvet and expensive natural fur) and common people (caps made of wool and cheap fur). Mentions of the cap go back to 1073, when this headdress adorned the head of the Izbornik Svyatoslav. Later, people began to wear indoor, sleeping, street and ceremonial caps for all occasions. This is perhaps the most ancient men's headdress in Rus'.
Tafya
Another men's headdress borrowed from the Tatars ancient Rus'- these are models of tafya hats. According to chronicles, tafya was worn back in the 16th century, and men wore caps over it. We are talking about a small, neat hat that covered only the area of the top of the head. Initially, tafya began to be worn by Muslim peoples and Jews, who covered their heads during prayers.
The second name for tafya is skufya; the cap was compared to a skullcap in shape and purpose. Rich men decorated tafya with threads of silk and gold. Initially, coming from the East, tafya became the home headdress of the nobility; Ivan the Terrible himself, despite the prohibitions of the church, wore tafya during prayers. Most often, tafya was made to order from dark soft materials.
Murmolka
Mrmolka became a type of Russian cap in the 17th century; it was a low, rectangular hat with a cloth top in black, green or red, and a base of brocade or velvet. Murmolka was worn only by representatives of the nobility - boyars, clerks and merchants.
In the winter season, the murmolka was trimmed with natural fur, with a wide strip turned outward. There was a small cut in the center of the front side of the hat so that the hat would not restrict the head.
Square hat
This headdress gained popularity in pre-Petrine times; it is classified as the third type of headdress from the time of Ivan the Terrible.
The hat was trimmed along the edge with a fur band made of beaver, sable or fox. As in the case of the cap, holes were made in the cap and buttons were added, with 6 buttons on each hole. This type of hat was preferred mainly by representatives of the nobility.
Gorlat hats
The fourth type of men's headdresses under Tsar Ivan the Terrible were throat hats, which received this name because they were made from the necks of sable, fox and marten. Visually, the hat resembled a gradually expanding cylinder the height of a man's elbow, the top of which was decorated with velvet and brocade. And if the cap gradually narrowed towards the top, then the throat cap, on the contrary, expanded.
In these times, men first put tafya on the top of their heads, then put on a cap, after which they complemented the image of a noble person with a gorlat hat. It was also customary to wear this hat on the crook of the left arm, especially if the headdress was removed as a sign of greeting. It was from then on that the saying “casual acquaintance” began. In men's homes, there was supposed to be an elegantly painted doll, on which a hat was thrown upon returning.
Ushanka (malakhai)
Another type of headdress of the nomadic peoples of Rus'; later this model of headdress was adopted by other peoples and countries. Today, earflaps are worn by men in the armies, military and police officers, as well as ordinary citizens. The second name for such a headdress is malakhai, it comes from the Kalmyk steppes.
The round-shaped hat was supposed to go into long headphones with ties, thanks to which they were hidden from the frost.
Sinner (grechnik)
Another type of ancient men's headdress that came from the Mongol-Tatars at the end of the 12th century. The hat was made from woolen poyarka, and because of its visual similarity with the top of a buckwheat pie, it received this name. Later, a column-shaped hat about 8 cm high became popular among Moscow cab drivers, especially if we consider the period of the early and mid-19th century.
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Conclusion
Any headdress of Slavic men hid a special history of its origin or adoption from other peoples. Due to the frequent raids of the Mongol-Tatars, it was these peoples who determined the appearance of such types of headwear as tafya, malakhai, murmolka and cap. Of the above mentioned headdresses, the first 4 models date back to the reign of the world-famous Tsar Ivan the Terrible.
A headdress in a women's Russian national costume is not an accessory that may or may not exist. This is a very important and mandatory part of everyday and festive clothing. For our ancestors, the headdress (as, indeed, the entire folk costume) was “talking.” At first glance, it was possible to determine whether the guest had arrived from afar, for example, to a fair. After all, each province and volost had its own “fashion” for what kind of headdress to wear, how it should look and how to decorate it. And much could be learned about the social status of the hostess. The main thing is whether she is a husband’s wife or a free young lady. And the approximate wealth was guessed by the richness of the decoration of the headdress and the material from which it was made.
Speaking about hats, we should start with what is “hiding” under them - with the traditional Russian women's hairstyle.
Girls' and women's traditional Russian folk hairstyles.
Traditional ideas about hairstyles for girls and married women were very clear. If a braid is a girl’s beauty, it can (and should) be shown, then after marriage the hair must always be hidden from prying eyes. At a Russian wedding, there was even a special ritual - the bridesmaids unbraided the bride’s girlish braid and styled her hair “in an adult way.” Usually, this ritual was accompanied by lamenting songs in which they lamented the separation from friends, home and maiden will. The only Russian hairstyle for unmarried young ladies was one braid. Moreover, even old maids were not allowed to wear another one. 
What all the girls had in common was that their braids, as well as the crown of their heads, always remained uncovered (at least in the warm season).
Married women in Rus' always wore two braids. The hair braided in this way was laid on the head, and then covered with one of the women's headdresses so that even a strand did not come out. It is not entirely clear what the root of such fears is, but it was believed that the exposed hair of a married woman could attract grief and misfortune not only to her, but also to everyone around her. Even in conspiracies they asked to get rid of such “misfortune.” They said: “Deliver me from the sorcerer, the smooth-haired girl and the plain-haired woman!”
“Going bare-haired” (that is, remaining bare-headed) was a great shame for a woman. If this happened through no fault of hers (for example, her headdress was torn off in the heat of a quarrel), then she could go to court and receive payment from the offender for “dishonor.”
Loose hair for both girls and women is an extraordinary phenomenon. Braids were unbraided only in situations that were considered “borderline” between the real world and the other world - during childbirth, at the funeral of parents, during wedding ceremonies.
Girls' traditional Russian folk headdresses
With all the variety of names for the headdresses of Russian young ladies of marriageable age, in principle they were very similar to each other. And it was based on one, the oldest girl’s headdress - a wreath of flowers or other plants. At its core, this headdress consisted of a more or less wide bandage tied at the back. The top of the head and the braid falling down the back remained uncovered. 
A particularly solemn, festive headdress is the koruna. It was made on a frame made of metal wire. In the northern provinces, such a crown was made with teeth “gorodki” and it resembled a crown in our modern understanding.
Of course, all these headbands and crowns were decorated as richly as possible with embroidery, and, if financially possible, with pearls and even stones. After all, such headdresses were supposed to demonstrate to potential grooms the well-being of the bride’s family and promote a successful marriage. This social function of a girl’s costume was preserved in the Russian north even in the 20th century. Here is a photograph taken in the Pinezhsky district of the Arkhangelsk province in 1927. It depicts rich girl brides “bandage girls” (on the left) and dowry girls “kerchief girls” (on the right).
During the festivities, however, the guys’ attention was given to the “kerchief girls.” They could dance square dances and participate in games. The “bandwrights” just walked decorously and danced in circles - they took care of their expensive outfit. But after such celebrations, the matchmakers were sent precisely to the “bandage makers.” Dancing is dancing, but the family needs a financial basis.
Women's traditional Russian folk headdresses
Kika or kichka is a women's headdress with horns. The shape of the horns was given using inserts made of hard materials, such as birch bark or quilted material. According to the faith of our ancestors, horns had great protective power. Also, horns in Slavic mythology signified fertility and procreation. A woman, especially one who was recently married and had small children, had to have the strength and means to protect them and herself from evil people and unclean spirits. That's what the horns are for. When a woman reached old age, the horns of the kiki became lower, and often completely disappeared (hornless kika). 
Kokoshnik – women's Russian folk headdress
This is perhaps the most famous Russian headdress. But in the form in which it is familiar even to the pupil kindergarten(at least according to the Snow Maiden’s costume) it did not exist; this is a later, modern “reading” of the kokoshnik. After all, the Snow Maiden’s kokoshnik is a girl’s headdress - with an open braid and crown. And it was an item of clothing for a married woman.
The kokoshnik consists of a headpiece (a semicircle on the front side) and a hairpiece or bottom (a cap at the back). The base of the kokoshnik was made of glued or quilted canvas or cardboard. On top, the base was covered with fabric and decorated with embroidery, foil, beads, precious stones, flowers, and pearls. Often covered with embroidery occipital part kokoshnik. The kokoshnik was tied at the back with ribbons. Along the edges of the kokoshnik there could be pearl threads - ryasny, and in front there was a net of pearls - underneath. Scarves made of silk or wool were often worn on top of the kokoshnik and pinned under the chin. They could also attach a muslin blanket on top of the kokoshnik, which was lowered down the back. 
In different regions of Russia there are various forms of kokoshniks: a one-horned kokoshnik (like the Snow Maiden), a two-horned kokoshnik (in the shape of an isosceles triangle), in the form of hats with a flat bottom and a high headband, and a saddle-shaped kokoshnik. Kokoshnik belonged to a woman’s festive attire; on weekdays, people were limited to simpler headdresses. A kokoshnik embroidered with pearls was worn for weddings. And in general, the kokoshnik was more of a headdress for noble and rich people.
Women's winter Russian folk headdresses.
The cold Russian winter made warm hats necessary. These were primarily fur hats. Often their top was made of fabric, decorated with pearl and gold cords and threads and, sometimes, precious stones. Women's hats were the clothes of noble townswomen - boyars and boyars. People simply made do with scarves.
A kokoshnik is a light fan made of thick paper, a metal ribbon or a crown, sewn to a cap or hairline; it consists of a retracted head and bottom, or a head and a hairline, with a descent behind the tape. The base was made of damask and velvet, calico on a solid base of glued or quilted canvas, cardboard. The top of the comb was decorated with ornaments: artificial or fresh flowers, brocade, braid, beads, beads, freshwater pearls (mined in Lake Ilmen since the 16th century), gold threads, foil, glass, and for the richest, precious stones. The back of the head was often covered with embroidery with gold threads. 
Had a fabric bottom. The kokoshnik was secured at the back with ribbons. Along the edges of the kokoshnik there could be ryasny (pearl threads falling on the shoulders), and the kokoshnik itself could be trimmed with a net underneath (mesh) of pearls. When putting on the kokoshnik, they usually moved it slightly onto the forehead, and the back of the head was covered with a canvas backplate with an extension made of crimson velvet, secured with ribbons. Silk or woolen scarves were often worn over kokoshniks, tightly embroidered with an ornament of gold and silver threads - ubrus; a thin light bedspread, decorated with embroidery, lace or braid - veil, haze, veil. The scarf was folded diagonally and pinned under the chin; a long blanket of muslin or silk was pinned under the chin or lowered from the top of the kokoshnik onto the chest, shoulders, and back.
Victor Vasnetsov. Portrait of V. S. Mamontova (in a one-horned kokoshnik)
The shape of the crest was different in different provinces: in the Kargopol district of the Olonets province, the kokoshnik was made in the shape of a cap with an elongated headband and blades covering the ears. A layer of chopped mother-of-pearl descended onto the forehead. The Vologda kokoshnik, called a collection, was distinguished by numerous assemblies over the headband. The Arkhangelsk kokoshnik had a rigid oval shape with abundant decoration at the top and a headband that protruded forward and had no additional decorations. In the Novgorod and Tver provinces it was helmet-shaped.
“The shape of kokoshniks in different regions is quite diverse; as a rule, it was determined by the peculiarities of the tradition of styling hair, collected in a plait or in two braids: around the head, above the forehead, on the back of the head, on the temples, etc. Various types of additions and decorations were used blades, edges, back plates and other parts differed significantly in different regions of Russia, but they were all attached to a solid base - a kokoshnik.” 
Kokoshniks, from left to right: A - two-horned kokoshnik of the Arzamas district of the Nizhny Novgorod province; B - one-horned kokoshnik, Kostroma province; C - kokoshnik; D - kokoshnik, Moscow province, E - kokoshnik, Vladimir province, F - kokoshnik in the form of a cylindrical hat with a flat bottom (with a scarf) G - Double-comb, or saddle-shaped, kokoshnik (profile view)
One-horned kokoshnik.. They usually had a beaded or pearl net underneath, which was attached to the headband and covered the forehead almost to the eyebrows. They were common in the central provinces of European Russia - Vladimir, Kostroma, Nizhny Novgorod, Moscow, Yaroslavl - as well as in the provinces adjacent to them: Vologda, Kazan, Simbirsk, Perm, Vyatka.
Two-horned kokoshnik- kokoshnik, soft at the back with a high, hard headband in the shape of an isosceles triangle or crescent with sharp or slightly rounded ends lowered down to the shoulders. The scope of the headband could sometimes reach 60 cm. 
Princess Orlova-Davydova at a costume ball in 1903
Kokoshnik, sewn in the shape of a cone with an elongated front part. They were decorated with gold embroidery or solid “cones”, completely studded with pearls, located around the edge. Cones, according to archaic beliefs, personified the cult of fertility.
Kokoshnik in the form of hats with a high brim and a flat rounded top, decorated with gold embroidery.
In the form of a cylindrical cap with a flat bottom. They had small blades that covered the ears, the back of the head - a strip of fabric on a solid base, sewn at the back, and underneath - a pearl or beaded mesh that went down to the forehead to the eyebrows or slightly rose above it. The scarf was pinned under the chin or, crossing under it, tied at the back of the neck. They were common in the northwestern provinces of Russia: Olonetsk, Tver, Novgorod. Kokoshniks of the first and second types were also known in Siberia, brought by settlers. 
P. Barbier. Portrait of a young woman in a Russian sundress. 1817.
One-yard kokoshnik, which received its name from the place of residence among the single-palace dwellers of the Oryol, Tambov, Voronezh, Kursk, and Penza provinces, was close to this type. It did not have sewn-on blades, a back plate or a bottom; It was usually made from braid and put on a kichka. It was worn with a forehead protector in the form of a narrow ornamented strip of fabric tied around the head, with a back plate fastened to laces at the back of the head. Around the kokoshnik, in his opinion, a scarf folded with a ribbon was tied, the ends of which went down the back or were secured on the crown of the head, crossing at the back of the head.
Flat oval top, a protrusion above the forehead, blades above the ears and a solid rectangular back pad sewn on the back. It was distributed in the Kargopol district of the Olonets province, in the northeast of the Novgorod province.
Double-comb, or saddle-shaped “shelomok” - with a high rounded band and a saddle-shaped top with a slightly raised front part and a higher rear ridge. It was usually worn with a forehead - a narrow strip of ornamented fabric tied around the head, a backplate - a rectangular piece of fabric on a solid base, as well as a scarf folded in the form of a strip and laid over the headband. The ends of the scarf went down the back or, crossing at the back of the head, were tucked in at the sides. They were common in the Kursk province, the western districts of the Oryol province and in Russian villages of the Kharkov province.
Wearing traditions
Nikolai Ivanovich Argunov (1771-after 1829). Portrait of an unknown peasant woman in Russian costume.
It was made to order by professional craftswomen - “kokoshnitsy”, who had the skills of sewing with pearls, beads, gold thread and the ability to handle factory fabrics. The price of some products reached 300 rubles. banknotes, so kokoshniks were carefully kept in the family and passed on by inheritance.
Usually the kokoshnik was worn on holidays, on weekdays it was limited to wearing a warrior. Unlike the kichka and magpie, which were worn only by married women, the kokoshnik could also be worn by unmarried women (although some ethnographers dispute this statement). Kirsanova points out that “kokoshnik” over time began to be called a traditional headdress with a high headdress and a veil, even if it was worn by an unmarried girl.
The kokoshnik tightly covered the head, covering the hair, braided into two braids and arranged in a wreath or bun. “In the artistic structure of the Russian national costume, the kokoshnik played a significant role, crowning the monumental forms of the festive women's suit, accentuating the face, emphasizing the solemnity of those situations in which richly decorated kokoshniks were worn" 
Unknown artist. Portrait of an unknown woman in a Russian headdress. 1769.
Known since the times of Ancient Russia, although the exact time of its origin is unknown. Already in the burials of Novgorod dating back to the 10th-12th centuries, there are some similarities to a kokoshnik: a solid headdress that sat low on the forehead and covered the head completely to the ears. In modern times, until the 1920s, it was preserved as part of the traditional ritual dress of the bride (the girl’s hairstyle was ceremonially replaced by a kokoshnik or kika). The young woman wore the pearl kokoshnik to the wedding after the wedding, wore it until the birth of her first child, and then only on holidays and special occasions. Poor families had to order a beaded kokoshnik, but appearing in one, say, on a wedding day was considered shameful and they had to borrow a “pearl” one from their neighbors for the duration of the celebration.
In the old days, girls prayed for their marriage on the day of the Intercession with these words: “The Intercession Holy Mother of God, cover my wild head with a pearl kokoshnik, a golden cuff!” In some areas, kokoshniks were worn only by newlyweds for three days after the wedding - this was typical for those areas where kokoshniks were already disappearing, being replaced by simple scarves or city hats.
In the 19th century existed among merchants, petty bourgeois and peasants, and in pre-Petrine Rus' - and among boyars. In the 19th century, it spread from the north of Russia to the south, displacing the magpie. At the end of the 19th century, in many provinces of Russia, kokoshniks as a festive headdress began to disappear, being replaced by another type of headdress: collections, warriors, tattoos, etc.
At the imperial court.
Empress Alexandra Feodorovna in a kokoshnik.
Expelled from the upper strata of society under Peter the Great, who forbade hawthorns to wear it by decree, the kokoshnik was returned to women's court costume by Catherine II, who resurrected fashion a la russe in the sense of the 18th century and returned it to fancy dress. The Napoleonic Wars, which caused a surge of patriotism, returned interest in national costume(cf. the return of mantilla fashion in Spain). In 1812-14, red and blue Russian “sarafans” with an empire waist and filigree buttons in front came into fashion. Russian empresses also dressed this way.
In 1834, Nicholas I issued a decree introducing a new court dress, complemented by a kokoshnik. It consisted of a narrow open bodice with long sleeves“a la boyars” and long skirt with a train. Kokoshniks, combined with a low-necked court dress, remained in the wardrobe of ladies-in-waiting until the revolution.
In the 2nd half. In the 19th century, the rise of the historicism style resulted, in particular, in collecting Russian antiquities and caused a surge of interest in Russian costume. During the reign of Alexander II and Alexander III, many works were created in the pseudo-Russian and neo-Russian style, in addition, lavish theatrical productions on the theme of Russian history demonstrated the luxury of costume. The peak of this fashion was the 1903 Costume Ball in the Winter Palace, the guests of which were dressed in 17th-century fashion, in particular, in “Russian kokoshniks, often exaggerated in the ‘opera’ style.” 
Women's headdress. Vladamir province of the 18th century. 
Women's headdress. Vologda province of the 18th century. 
Women's headdress. Kaluga province of the 18th century. 
Women's headdress. Tver province of the 18th century. 
Women's headdress. Central Russia. XVIII 
Golden dome - women's headdress. Kursk region. 18th century. 
Kaptur (women's fur headdress)Russian North XVIII 
Kichka and forty. Tambov province of the 19th century
Hats and their parts are usually listed as part of the dowry. In 1668, in the city of Shuya, three volosniks were described: “A volosnik with edging, edging with nizan grains (pearls - M.R.) in half with stones and with emeralds and with yakhonta and with grains; gold hairline with trim, trim sewn with bit gold trimmed; golden hairline, stitching embroidered with drawn gold from grain; double chain lining.” In the same city in 1684, apparently, the family of the feudal lord was given three dowries kokoshnik: “kokoshnik nissan on worm-shaped satin; kokoshnik embroidered with gold on taffeta; taffeta kokoshnik with silver braid.” In 1646, among the property of the townsman - Shuyanin, there were, by the way, “8 forty embroidered with gold... the kitch is expensive green, the headband is embroidered with gold.” In 1690, a Moscow will mentioned a “nizana kokoshnik with a yakhonta with an emerald.” In 1694, in the city of Murom, among the dowry of a girl from the Suvorov family - “a lowered kokoshnik, 5 sewn kokoshniks with braid, 5 satin and damask lingonniks, lowered trim, chain trim.” In 1695, A.M. Kvashnin gave his daughter 11 kokoshniks - 3 ceremonial ones and 8 simpler ones. The daughter of A. Tverkova from the city of Kashin also received the kokoshnik as a dowry. In 1696, guest I.F. Nesterov gave his daughter a “pearl kokoshnik with a stone.” The differences here are more likely social than territorial: magpie and kika are among the townspeople, kokoshnik among the feudal lords and the upper class of merchants. If we remember that in the middle of the 17th century. Meyerberg depicted a Moscow peasant woman in a kitsch-shaped (widening upward) headdress, it can be assumed that in the central Russian lands - the former Moscow and Vladimir principalities - at least in the 17th century. was women's kitty headdress. Kokoshniks They were also part of the toilet of noble and rich women everywhere. We said earlier that in the northern Russian lands some kind of headdress on a rigid basis existed until the 13th century. But Kika and the parts of the headdress that accompanied it, which were mentioned above, were probably more widespread and therefore even in the 16th century. included in such an all-Russian manual for the device family life what Domostroy was like. So, a traditional, very complex headdress, which was not removed even at home, was characteristic of the entire period we are considering and was retained by some social strata also much later, for almost another two centuries. When going out into the street, a woman put on a scarf or (for the wealthy) a cap or hat over this headdress. Sources know, in addition to the general name cap and hat, also special terms for women's street hats various styles: captur, treukh, stolbunets and even a cap. Women hats They were round, with small brims, richly decorated with cords of pearl and gold threads, and sometimes with precious stones. Hats They were made of fur, mostly with a fabric top. The stolbunets hat was tall and resembled a man's gorlat hat, but it tapered towards the top and had an additional fur trim at the back of the head. The Kaptur was round, with blades that covered the back of the head and cheeks, the triukha resembled modern earflaps and had a top made of expensive fabrics. Sometimes a scarf - a veil - was tied over a fur hat, so that its corner hung down the back.
Men's hats also underwent in the XIII-XVII centuries. significant changes. The hairstyle itself has also changed. In the 13th century Loose hair cut just above the shoulders was in fashion. In the XIV-XV centuries. in the north of Rus', at least in the Novgorod land, men wore long hair, braiding them into braids. B XV-XVII centuries hair was cut “in a circle”, “in a bracket” or cut very short. The latter, apparently, was associated with wearing at home a small round cap that covered only the top of the head, like an eastern skullcap - tafya or skufya. The habit of wearing such a hat already dates back to the 16th century. was so strong that Ivan the Terrible, for example, refused to take off his taffe even in church, despite the demands of Metropolitan Philip himself. Tafya or skufya could be simple dark (for monks) or richly embroidered with silks and pearls. Perhaps the most common form of the cap itself was cap or kalpak- tall, tapering at the top (sometimes so that the top curled and sagged). At the bottom of the cap there were narrow flaps with one or two holes, to which decorations were attached - buttons, cufflinks, fur trim. Caps were extremely widespread. They were knitted and sewn from different materials (from linen and paper to expensive woolen fabrics) - bedroom, indoor, street and front. In the will of the early 16th century. An interesting story is revealed about how the Russian prince Ivan took various family jewels from his mother, the Volotsk princess, “for temporary use” - including earrings from his sister’s dowry - and sewed them onto his cap, but never gave them back. This cap must have been a very elegant headdress for a dandy. A century later, among the property of Boris Godunov, a “fat cap” was mentioned; it has 8 cuffs and 5 buttons in the hole.” Kolpak or, as it was called then, hood was widespread in Rus' in ancient times. A type of cap was in the 17th century. nauruz (the word itself is of Iranian origin), which, unlike the cap, had small brims and was also decorated with buttons and tassels. The margins of the nauruz were sometimes curved upward, forming sharp corners, which miniaturists of the 16th century liked to depict. G.G. Gromov believes that the Tatar cap also had a pointed top, while the Russian headdress was rounded at the top.
Men's hats had round brims (“brim”) and were sometimes felted, like later peasant hats. Such a hat with a rounded crown and small, curved brim, which apparently belonged to an ordinary citizen, was found in the city of Oreshka in the 14th century layer. Among the wealthy segments of the population in the 17th century. Murmolki were common - tall hats with a flat crown, tapering upward, like a truncated cone, and with fur flaps in the form of blades, fastened to the crown with two buttons. Murmolki were sewn from silk, velvet, brocade and additionally decorated with metal agraphs.
Warm men's hats were fur hats. Sources call three or malachai — hat with earflaps, the same as for women. The most ceremonial was the throated hat, which was made from the neck of the fur of rare animals. It was tall, widening at the top, with a flat crown. Along with gorlat hats, worm hats are also mentioned, that is, made from fur taken from the belly of the animal. Just as it was customary to put on one piece of clothing on top of another during formal exits (for example, a zipun - caftan - a single-row jacket or a fur coat), they also put on several hats: tafya, a cap on it, and a gorlat hat on top of it. Clerics of various ranks wore special headdresses (various types of hoods). The prince's hat remained an important regalia of the rulers.
Haute Couture in Russian: hats from the unique collection of the Russian Ethnographic Museum. Each of these items was made by Russian craftswomen with their own hands over several years. They embroidered with mother-of-pearl, beads, and braid. Neither satin nor silk were spared. They were worn on holidays and passed from mother to daughter.
"Wreath". Penza region, end of the 19th century.
Girl's headdress. At the heart of the headdress is a hoop made of cardboard, lined with velvet and silk on the front side, and canvas on the back side. The necklace is decorated with silk ribbons, braid, beads and rooster feathers. Attached to the back were pink ribbons that ran down the back and decorated the braid. This headdress was worn on holidays.
"Magpie". Tula province, end of the 19th century.
A headdress for young women, which was often used for weddings. It was worn only on major holidays until the birth of the first child. “Magpie” is an upper cap with a beaded bottom. Among the other 11 parts are “back fringe”, “front fringe”, flounces made of multi-colored silk ribbons, “braids” from a drake’s tail, “cannons”.
“Kokoshnik”. Pskov province, beginning of the 19th century.
A headdress on a rigid base with “ears” and “duckweed”, embroidered with gold and silver threads, decorated with glass inserts and sparkles. Such a headdress was known as the “Novgorod kika” and was common among the Russian nobility back in the 17th century. At the end of the nineteenth century. it was preserved in some villages in the north-west; it was worn by young women on the second day of their wedding.
Festive “kokoshnik”. Kaluga province, late 18th century.
Brocade headdress embroidered with chopped mother-of-pearl. His headband is decorated with 41 mother-of-pearl “cones,” a symbol of fertility. Such kokoshniks at the end of the 18th - first half of the 19th century. worn by women of wealthy merchant families of Toropets
Kokoshnik. Olonets province, second half of the 19th century.
A hat with an extended headband and blades covering the ears is a festive headdress for a young woman. The cap is trimmed with gold thread braid. The front and back parts are studded with mother-of-pearl. A thick mother-of-pearl mesh descends onto the forehead.
“Buckwheat.” Altai district, end of the 19th century.
Men's headdress: a tall cylinder with a wide brim, decorated with stripes of red cloth, silk ribbons, fringe, buttons and beads. It was used as a festive or groom's headdress.
"Volosnik". Moscow, XVII century.
Women's headdress: taffeta, spun gold-silver threads, colored silk threads. Discovered during excavations of the necropolis near the walls of the Cathedral of the Simonov Monastery in Moscow.
Women's headdress, 17th century.
Women's headdress embroidered with pearls and precious gold threads. The fabric is ribbed silk, rep type.
Diana Chankseliani
