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

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 use quad-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.

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 the process, 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).

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't cooperate, 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.

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 the maiden 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.

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.

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.

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 period or after.

Sew the podniza to the front, centering it carefully and making sure your stitches are on the inside. They don't have to be superpermanent, 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 cord around 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.

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 not actually "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

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 for your 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.

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.

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.

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 this may 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 I believe is period to use), but sewing looks neater, in particular on velvets.

And here it is, all done! Of course, I am not 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.

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 long tr 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

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.

2. 3.

4.

5.

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, or yew is 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. 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. 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 effective cordage. Tie one the bowstring to one end of the stave making sure the string falls into the groove. Tie a slipknot in the loose end of the bowstring. Brace the tied end of the stave against the ground 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. 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.

Steps to Make Hunting Arrows: 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 and willow branches tend to work best. 2. Whittle the narrowest end into a sharp point. Charring the pointed tip over hot coals will harden 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
1.

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

Purchase leather sheets that are flexible enough to work with but hard enough to provide support and hold arrows. Leather is classified by thickness so remember this when you order your leather. Also keep in mind that soft leather will help hold your arrows 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 will be the top and bottom.
3. Step 3

Spread the leather out and turn the backside of the leather to face upward towards you.

4. Step 4

Mark each side with an edge ink line that is about inch from each of the four edges.
5. Step 5

Draw tick marks on both of the top and bottom edges. Make these ticks marks directly only the edge ink lines but start and end about inch away from the left and right 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 edges should have two parallel lines: the edge ink line that is inch away from the edge and 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 you previously 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 holes are 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 outside bottom 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 holes from the inside and pull outside.
12. Step 12

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

13. Step 13

Do not cross them again when inserting from inside of the quiver. Only make the cross pattern on the outside of the quiver. Tie off all of the lace ends when finished and 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 the quiver 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 each other. For a right handed archer, place the holes on the left side and reverse that for a left handed archer.
18. Step 4

Punch identical holes into both the top and bottom straps for the quiver. Once you find the right comfort size, lace these holes together so that the lacing acts as a buckle.
19. Step 5

Use a hole punch to make four holes in the top strap. Make them 1 inch from the strap edge and match the holes in the top back edge and make and punch matching holes to lace the strap onto the top of the quiver. Attach the top strap to the top edge of 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 needs identical holes. Account for the fact that the strap will be going around your body and the matching holes on the strap need to be about 1 inch from the edge of the strap.

21. Step 7

Make sure to punch identical holes into both the top and bottom straps for the quiver. These holes should be in the free edges of the straps. Once you find the right 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 bottom of 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.