Discover the hidden meanings behind traditional headwear! From age to social status, every detail tells a story. Uncover the secrets of these exquisite accessories that have captivated ge...
The appearance and decoration of the *taqiya* – the Kazakh skullcap or women's *kimeshek* – can tell a lot about their owners: gender, age, social status, and lineage. "All the information is contained in this small accessory," notes the artist-decorator of the Zhezkazgan Historical and Archaeological Museum, master of applied arts, Sabira Utkelova.
Sabira Abdiqadyrovna is well-known in the Ulytau area not just as a true expert on the history of headwear. Her *kimeshek*, *taqiya*, and *saukele* have been chosen by locals for many years, both for themselves and as gifts for friends and loved ones. She sews her creations while strictly adhering to folk traditions: ornamentation, cut, and embellishments. Everything must be done correctly. The master finds ideas and patterns in the museum's collections, which house traditional Kazakh headwear crafted with love over a hundred or even two hundred years ago, as well as in books and online publications from historical sites.
– Kazakhs have always treated headwear with great respect, – explains Sabira Utkelova. – They should not be tossed around carelessly, nor should you gift your favorite skullcap or *kimeshek* to someone else. There is a belief that by giving such a gift, we pass on our luck, wit, and certain abilities to that person.
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Headwear has been worn since infancy. For example, babies were dressed in *taqiya* – a skullcap similar to modern bonnets, but with a different cut – featuring closed ear flaps. As children grew, they wore different types of *taqiya*, with the headwear for girls and boys always distinguished by embroidery and decorations.
– One of the favorite decorations on girls' skullcaps is the fluffy feathers of the owl; they served not only a decorative purpose, – shares Sabira Utkelova. – The feathers acted as a protective charm against the evil eye, warding off evil spirits from the child. Interestingly, in some regions of Kazakhstan, owl feathers were used to decorate not only girls' and young women's *taqiya* but also the cradles of infants.
The ornamentation also holds significant meaning in the decoration of nomadic clothing. Preferences for patterns changed depending on the area of residence. For instance, in the southern regions of the country, where agriculture is prominent, floral patterns are popular, while in Central Kazakhstan, where livestock farming prevails, designs like *koshqar muiz*, *qos muiz*, and *tuye taban* are favored. Tengrianism also influenced the characteristics of national headwear design, evident in the colors and cosmogonic and geometric patterns.
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– I don't like loud decorations; I try to choose colors that harmonize well with each other, – continues the master. – Sometimes a subtle pattern made with sewing stitches looks better than an appliqué embroidery.
All color combinations are gifted to us by nature, notes Sabira Utkelova. For example, earth and water colors are not only favorites among Kazakhs but also symbolize fertility and all that exists on earth. Red is a symbol of the sun, bringing joy and love. Even the color black, traditionally regarded as mourning, is no longer viewed strictly and is increasingly used in everyday life.
– I know a lot about women's headwear because they are ordered more frequently, – shares the master. – I particularly love *kimeshek* and the girls' *böriq*. The *kimeshek* symbolizes motherhood, and there are specific rules for its sewing and embellishments. However, when working on girls' *taqiya* or *böriq*, one can let their imagination run wild. For instance, I love to decorate girls' headwear with fur, jewelry, handmade brooches, and embroidery.
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Sabira Abdiqadyrovna's husband supports her creativity and often crafts decorations for the *böriq* from Soviet coins, which can be adorned with patterns, or from available metals. Her colleague, the jeweler (zergir) and employee of the historical and archaeological museum, Yergazy Isataev, creates more intricate decorations, including those made from nickel-silver and semi-precious stones.
– Many Turkic peoples use coins in their decorations, – notes Sabira Utkelova. – For instance, at the recent World Nomad Games, I showcased my works as a regional master of applied arts. Representatives from various nations approached me, many dressed in national attire. A girl from Bashkortostan tried on both a *taqiya* and a *saukele*, which beautifully complemented her look.
Decorations on girls' hats also produce a melodious sound. Children vary in character – some are restless, while others are quiet. Sometimes, while sitting in the yurt, adults could tell which of the girls was playing outside.
One of the most beautiful headpieces for brides is the *saukele*. The cost of the headpiece, or rather its decorations, could indicate the wealth of her father.
– There is a well-known story about a *saukele* that cost the bride's parents 500 horses, – shares the applied arts master. – The headwear of wealthy daughters was adorned with diamonds, pearls, gold, and silver, crafted from the finest fabrics. Truly, a kingdom for a *saukele*! It is also believed that the height of the headpiece – some reaching up to 70 centimeters – symbolizes the love for the daughter.
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Indeed, for centuries, future parents prayed to the Almighty for the birth of a son – an heir. However, they cherish and nurture daughters more. Not only for their tenderness and beauty, but because the future bride will grow up and leave for her husband's home, making it challenging to pamper her afterward.
– There are also two headpieces that are Kazakh national but are known to few, – says Sabira Utkelova. – The first is *suraba* for girls. It resembles a children's *taqiya*, although it differs slightly in cut. This headpiece is decorated with embroidery, pom-poms, coins, and beads. The second is *kasaba*, an ancient, somewhat forgotten headpiece with its own history.
The foundation of this majestic headpiece is the *taqiya*, slightly slanted at the back. The richly adorned *kasaba* was worn by young women who had just gotten married. One type of *kasaba* appeared in Kazakhstan about two hundred years ago when Jangir Khan took a third wife from Tatarstan. The bride arrived at the wedding in a traditional Tatar headpiece that elongated on the side. When she was offered to change it, she simply flipped the elongated part from the side to the back.
– At that time, this *kasaba* quickly became popular, – shares Sabira Utkelova. – It looks very festive and majestic. By the way, the fringe that adorns it promises its owner many children in her lineage.
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The master sews the *kasaba* based on ancient descriptions, usually using felt for the base. This elegant headpiece can be worn over a *kimeshek* or scarf.
– During the World Nomad Games, the *kasaba* attracted the attention of many guests at our pavilion, – recalls Sabira Utkelova. – A young man from Europe couldn't help but try it on and immediately wanted to buy it. I explained through a translator that it was for women, but he was so delighted that I didn’t try to dissuade him. Later, volunteers shared that this young man collects headwear from around the world. His collection includes many pieces from 29 countries he has personally visited. Besides the *kasaba*, he also acquired a *chapan* from other masters.
– I recently sewed five *kasaba* – for myself and my friends with whom I have been friends for 50 years. When we wore them right in the restaurant, it was a sensation. So many people asked about the *kasaba*! Even the boys were surprised by this beautiful and festive headpiece.
It should be noted that the Nomad Games left a significant impression on everyone. The residents of Ulytau were delighted by the works of their colleagues – masters of applied arts. Among the guests were many true experts who eagerly shared the history of national clothing.
– This celebration of nomadic culture showed how much the Turkic peoples have in common, – concludes Sabira Utkelova. – National clothing and accessories are beautiful in themselves, and when you see something familiar in the attire of guests, it warms the heart and brings joy.