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Below directions are for Vladimir kokoshnik, a hair-covering headdress for

married women. The hat's design is based on a post-period example of a

regional hat (central Russia Vladimir region), with knowledge that kokoshniks

were generally built on similar principles. I don't know of any surviving

examples earlier than late 18th century (neither do the major authors in the area

of Russian applied art). Note that in period leather was usually used instead of

buckram I use, so if you can work with leather, please do. I am also not clear on

the fit and finish of the back part of a kokoshnik, so what I did is just one

interpretation of it.

Supplies:

1/2 yard of your chosen facing fabric (velvet, silk, or brocade)

1/2 yard of lining fabric (linen or silk)

buckram

flannel

cloth covered wire (bridal or millinery)

manila folders or poster paper

graph paper

pearls, gold thread, trim -- whatever you need for decoration

First, decide on the shape of your future

headdress. Make a paper cutout for your

shape (I use manila file folders, as shown

here). I originally determined the inner

crescent by using one of my headbands,

and now I simply re-trace old patterns.

However, experimentation works too --

those folders are cheap.

In this picture, front and back patterns are

shown together. In reality, I didn't know

what the back was going to be like until I

finished the front and experimented some

more. This shape was modified in the

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process.

Try your paper headdress on and make

necessary adjustments -- it may be too

high, too low, too wide...or just perfect.

Trace it onto some graph paper (I usequad-ruled pads, with pages pieced

together) and create your design.

The same applies to the back -- and this

shape is closer to what I ended up with.

I trace my patterns onto fusible interfacing

with a permanent marker. You may find

some better way of transfer -- I would love

to hear of it! Fusible interfacing certainly

is not period, but in period special artists

created the designs for embroideries and

drew them right on the face of the fabric in

chalk or ink. I am not brave enough (or

artistic enough) to do that.

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Now, of course, iron on your iron-on

interfacing. Make sure to leave ample

seam allowances around the pattern, but

don't cut it out yet.

Now it is time for the embroidery work --

the front of this piece is done in pearls

over white cord and gold cord, in period

technique. I do have pictures of theprocess, but this is a separate topic and is

discussed elsewhere on this site.

Even though it looks white in this picture,

the back was done in gold cord with some

single pearls, to be less fancy than the

front (and in accord with what is known of

kokoshniks).

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Now for the foundation: lay out your

buckram flat and trace the pattern again

(usually once, but I doubled the buckram

for this piece because embroidery was

rather heavy). If the buckram won'tcooperate, passing it over steam will help

change its mind about the shape it wants to

be. Cut the shape out, preferably with

something other than your best scissors.

Repeat on the flannel, twice. When cutting

the flannel, remember to leave ample seam

allowances.

Sew the millinery wire around the edge of

buckram cutout. My wire comes from

bridal sections of fabric stores, but

Mistress Soraya uses what I believe to be

better fabric-covered wire from a millinery

shop.

Sew the flannel to the buckram, covering

the wire. You will have to clip it on the

curves.

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Here, I turned the edges of the second

piece of the flannel in without bringing

them to the other side of the foundation.

This is neater than just basting them from

the other side, but that works too (see themaiden headwear instructions).

Then, sew the facing to the flannel,

clipping around the curves. I like to use

Fray Check liquid when working with

velvets.

Using your pattern and adding seam

allowances, cut out the lining. Pin it to the

work, hiding the edges.

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Sew the lining to the facing, making sure

the stitches don't show on the front.

This is the finished front part of the

kokoshnik -- if you were a maiden, this

would be about as far as you need to get.

Pin the lining to the back piece, front sides

tothether. Hand or machine stitch along the

outline of the back.

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Turn the back right side out, hand-press

the edges.

This is probably your last chance to adjust

the fit and make corrections (back only, I

suggest not messing with the front

anymore). I suppose it is hard to see here,

but the headdress is just pinned together

now, not yet sewn.

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A view of the backside with a better view

of the pins.

When trying the kokoshnik on, I realized

that it needed a "podniza" -- the pearl

netting. I made the podniza in a vertical

weave which allows for more stretch than

horizontal varieties. It is tapered towards

the edges, but does not lie flat on the head

-- which seems to be unnecessary in periodor after.

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Sew the podniza to the front, centering it

carefully and making sure your stitches are

on the inside. They don't have to be super-

permanent, since podniza might be moved

to a different headdress if needed.

Sew front and back together (I use a stitch

similar to those used in hand applique) and

finish the bottom of the back, and you are

done! I considered placing gold cordaround the seam, but didn't get there yet.

Likewise, attaching "riasy" -- hanging

pearl threads with or without metal pieces

-- to the sides is an option.

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First, decide on the shape of your future

headdress. I usually use a simple crescent

(like the one in the pictures but without

the wave edge). Make a paper cutout foryour shape (I use manila file folders, as

shown here). The inner crescent I

determined by using one of my

headbands, but experimentation works too

-- those folders are cheap.

These directions are for a crescent-shape "kokoshnik", maiden version. I wear these sort

of behind my ears, tied with the ribbon at the back. Proper name for this headdress is notactually "kokoshnik." That was a name for woman's headwear that hid the hair

completely (but might have looked the same in front). This particular style could be

called "chelo kichnoye."

Supplies:

1/2 yard of your chosen facing fabric (velvet, silk, or brocade)

buckram

flannel

cloth covered wire (bridal or millinery)

manila folders or poster paper

ribbon (grosgrain is preferred)

pearls, gold thread, trim -- whatever you need for decoration

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Try your paper headdress on and make

necessary adjustments -- it may be too

high, too low, too wide...or just perfect.

Place it on the inside of your chosen

fabric.

Trace your paper cutout twice, leaving

enough fabric for seam allowances.

This step is entirely optional -- I prefer to

baste along chalked lines and then erase

them. This was I can see what are my

limits from the face of the fabric.

Before cutting anything out, you may

mark your pattern and decide where the

gems, ornaments, and such will go.

Alternatively, you could plan for pearl

embroidery as outiled in the Valdimir

Kokoshnik instructions, using interfacing

to prepare the pattern.

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Again, I baste my pattern from the back of

the fabric. Then I work on the face of the

fabric.

Lay out your buckram flat and trace the

pattern again (only once). Cut it out,

preferably with something other than your

best scissors.

Repeat on the flannel, twice. When

cutting, remember to leave ample seam

allowances.

Sew the millinery wire around the edge of

buckram cutout. My wire comes from

bridal sections of fabric stores.

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Sew the flannel onto both sides of the

buckram. You will have to clip it on the

curves. I like to bend the edges towards

the inside of the headdress and just baste

through everything several times, but thismay not the best way -- so I am not

offering a picture. Well, frankly I just

forgot to take it. Then, sew the facing over

the flannel, beginning with the front piece.

Attach the ribbons, sewing through them

many times.

Using the matching thread, cover the back

of the headdress. Glue works too (and Ibelieve is period to use), but sewing looks

neater, in particular on velvets.

And here it is, all done! Of course, I amnot particularly satisfied with the pearling

of this item. My excuse is that it was done

in a hurry the night before a coronation,

and before I learned the proper period

technique described elsewhere on this

side.

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have a snood pattern I made for my daughter 2 years ago. It is from a book I have written

in the 1940"s. All of the patterns are from that time but I kind of remember what the one

that Scarlet wore in "Gone with the Wind" looked like. I think this will work for you.

Very simple and my daughter that has hair to her waist could get all of her hair in it. It is

an open weave though. She had to use a pony tail holder and a few bobby pins on her hair

to keep it neat.

Materials: (Medium size)

2 oz.4-py yarn (wool) I used acrylic

crochet hook :size 3 I think I used a "G"

1 yd. grosgrain ribbon.

22" round elastic

Gauge: 4 meshes = 3"

Ch 49.

Row 1: 1 long treble crochet (long tr.) in 12th st from hook, *ch 4, skip 4 st on ch . 1 longtr in next st; repeat from* ending ch 4, skip 1 st,. 1 long tr. in last st. Ch 9. Turn.

Row 2: 1 long tr in first long tr of Row below, * ch 4, 1 long tr. in next long tr; repeat

from* ending ch 4, 1 long tr in 5th st of turning ch, ch 4, 1 long tr in same st as last long tr.

Ch 9, turn.

Repeat last Row 6 times (23 meshes). Ch 9, turn.

Row 9: Skip ch 4, 1 long tr in next long tr., * ch 4, 1 long tr in next long tr; repeat from *

ending ch 4, 1 long tr in 5th st of turning ch. (23 meshes). Ch 9, turn.

Repeat last Row 7 times, ending last Row ch 5 instead of 9.

Row 17: Skip ch 4, 1 long tr in next long tr, work even to within 2 meshes of end, ch 4;

yarn over 3 times, insert hook in next long tr and draw up a loop, over, take off 2 loops 3

times in succession, wrap yarn over hook 3 times, insert hook in 5th st of turning ch and

draw up a loop (6 loops on hook), over, take off 2 loops 3 times in succession, over, take off

3 loops (a decreasing long tr), ch 5 turn.

Row 18: Skip ch 4, 1 long tr in next long tr, work 18 meshes, ch 4, work a decreasing long

tr in last 2 long tr. Ch 5, turn.

Decrease 1 mesh each side of each of next 6 rows as in last Row. Ch 1, do not turn.

BORDER: Sew ends of a 22 inch piece of round elastic together. Working around elastic,

work 2 sc in each mesh on entire outer edge, join with a slip st to first sc. Fasten off.

Make a tailored tie of ribbon and sew to front of snood.

***

Along treble (according to the book) can be made by yo (Yarn over) any number of times

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and still drawing through 2 loops at a time, until one loop remains on hook.

I think I just did a regular treble crochet (tr) except where it stated. I would have to make

this again to really remember. Good luck with this.

Steps to Make a Hunting Bow:

1. The ideal hunting bow stave should be between five and six feet long and as straight as

possible. A number of woods can be used to produce a bow. A flexible green sapling of an

apple,ash,black locust,cedar,elm,hemlock,hickory,mulberry,sassafras,willow, oryewis

ideal. Pine is poor choice because it will break rather than bend. The stave should be at

least an inch in diameter. A piece of wood with a consistent diameter from end to end

works the best.

2. Cut a shallow groove around the circumference of either end of the wood approximately

one inch from the tip. This will keep the string from sliding.

3. Find a bowstring that is about eight inches shorter than the bow. A nylon cord, a boot

string, or a jacket lace would be ideal because these man-made materials resist rotting.

However, if none of the former are available plant fibers can be twisted together to

produce effectivecordage. Tie one the bowstring to one end of the stave making sure the

string falls into the groove.

4. Tie a slipknot in the loose end of the bowstring. Brace the tied end of the stave against theground and flex it until the slipknot can fit over the tip into the groove around the neck of

the bow. If the string length is correct, it will fall across the middle of the forearm between

the wrist and elbow when the bow is gripped at its middle.

5. Draw the bow a few times to make sure the cord is tight and the stave won't break when

bent. A few wraps of safety tape around the middle of the bow will make a comfortable,

no-slip handle. Make the top of the handle a little thicker with a few extra strips of tape to

make an arrow rest.

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Steps to Make Hunting Arrows:

1. Find a straight stick about three feet long and a half an inch in diameter. It can be either

green or dry, but hollow reed andwillowbranches tend to work best.

2. Whittle the narrowest end into a sharp point. Charring the pointed tip over hot coals willharden a green stick. Cut a notch in the opposite end for a place to rest the bowstring.

3. Accuracy of the arrows can be improved by fletching the butt end of the arrow. This can be

achieved by splitting a loose feather down the middle and attaching the two sides opposite

one another on the end of the arrow. Feathers can be attached with a small amount of

tape or several turns of thin string. They can also be glued on with melted pine pitch

Instructions

Things You'll Need:

1/8 to 3/16 inch hole punch Leather for quiver length (23x19x18 inches) Thicker leather for quiver bottom and straps Multiple 6 foot long leather laces Ruler Marker, pen or pencil Razor knife Needle nose pliers (in case you have difficulty with laces)

Make the Quiver

1. Step 1

Purchaseleather sheets that are flexible enough to work with but hard enough toprovide support and hold arrows. Leather is classified by thickness so remember thiswhen you order your leather. Also keep in mind that soft leather will help hold yourarrows in place.

2. Step 2

Use a size based on your preference but for this guide, use 23 x 19 x 18 inches. The

longer edges will be the right and left sides of the quiver, while the shorter edges willbe the top and bottom.

3. Step 3

Spread the leather out and turn the backside of the leather tofaceupward towardsyou.

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4. Step 4

Mark each side with an edge ink line that is about inch from each of the fouredges.

5. Step 5

Draw tick marks on both of the top and bottom edges. Make these ticks marksdirectly only the edge ink lines but start and end about inch away from the left andright sides. The ticks should be made every inch.

6. Step 6

Measure and mark 1 inch inward from both the right and left edge ink lines.

7. Step 7

Draw parallel lines on both the right and left edges. Both the right and left edgesshould have two parallel lines: the edge ink line that is inch away from the edgeand the new side parallel line that is 1 inch away from the edge ink line.

8. Step 8

Mark every 1 inch with little dots on the side parallel and edge ink lines youpreviously marked. Start the dots about inch from the bottom edge.

9. Step 9

Use a hole punch to punch holes at every tick mark on the left and right edges.

10. Step 10

Roll the leather to overlap the right and left edges so that the side parallel line holesare aligned. Use rubber bands to help keep the shape if necessary.

11. Step 11

Use sturdy 6 foot leather lacing to lace up the quiver, working from the outsidebottom of the quiver. Insert each end of the lacing into the holes and pull the ends

into the inside of the quiver. Once inside, insert the lacing into the next set of holesfrom the inside and pull outside.

12. Step 12

Cross the laces on the outside of the quiver and insert them into the next set ofholes.

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13. Step 13

Do not cross them again when inserting from inside of the quiver. Only make thecross pattern on the outside of the quiver. Tie off all of the lace ends when finishedand cure to keep the ends from untying.

14. Step 14

Attach the straps as instructed in the next section.

Make and Attach the Strap

15. Step 1

Lay the quiver down with the side with the stitch pattern facing you. Flatten thequiver to an oval.

16. Step 2

Use two 20 inch long straps to connect to the quiver. Fit the strap to your comfort.

17. Step 3

Punch two holes about 3 inches from the bottom edge and an inch apart from eachother. For a right handed archer, place the holes on the left side and reverse that fora left handed archer.

18. Step 4

Punch identical holes into both the top and bottom straps for the quiver. Once youfind the right comfort size, lace these holes together so that the lacing acts as abuckle.

19. Step 5

Use a hole punch to make four holes in the top strap. Make them 1 inch from thestrap edge and match the holes in the top back edge and make and punch matchingholes to lace the strap onto the top of the quiver. Attach the top strap to the top edgeof the quiver with lacing.

20. Step 6

Punch out six holes on both the bottom strap edge and the bottom of the quiver.Measure the correct distance on the quiver, keeping in mind that the strap needsidentical holes. Account for the fact that the strap will be going around yourbodyandthe matching holes on the strap need to be about 1 inch from the edge of the strap.

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21. Step 7

Make sure to punch identical holes into both the top and bottom straps for thequiver. These holes should be in the free edges of the straps. Once you find theright comfort size, lace these holes together so that the lacing acts as a buckle.

Finishing Steps

22. Step 1

Cut out the bottom piece for your quiver. Measure it so it fits snugly into the bottomof the quiver. For this project, ours will be 2 inches by 7 inches.

23. Step 2

Punch out the bottom edges holes and identical holes on the bottom piece.

24. Step 3

Stitch the bottom to the quiver using leather lacing and tie off the ends.

25. Step 4

Add more detail as you become more familiar with this process.