ASTANA – Kazakh traditional headdresses are experiencing a resurgence among young people, blending cultural heritage with modern design. Brightly stylized hats have become a popular fashion statement, serving as a means of self-expression and a symbol of cultural identity. This renewed interest is driven by a desire to stay connected to history and heritage while also standing out in contemporary society.
Collage is created by The Astana Times/ Fatima Kemelova.
Headwear has held a special place in Kazakh culture. People do not wear others’ hats or lend their own, as it is believed this could bring misfortune or illness. Hats were never casually tossed. They were always placed carefully or hung up to prevent them from falling.
The signature hats of Kazakh men
Both men and women were expected to wear head coverings. One of the most universal headdresses, worn by men, women, and children alike, is a takiya. Traditionally, it was never removed, even at the dining table.
screenshot from the film Kazakh Khanate
Takiya for children was often embroidered with silk, gold, and silver threads, featuring intricate patterns on all four sides of the dome, while men’s takiya was typically simple in design. It was tall, with either a flat or rounded top, and decorated with classic patterns embroidered in contrasting colors—most commonly yellow. Such takiya was sewn from dense fabrics like plush or thick cotton, with silk often used for lining to provide comfort in hot weather. Everyday takiya was made in dark, muted colors, such as navy or black, while lighter shades were reserved for special occasions.
One of the most recognizable summer headdresses for men is a kalpak, a cap made of thin white felt. It features a tall, cone-shaped crown and is crafted from two identical pieces, with the lower edges folded to form wide, slit brims. The brims are lined with red or black fabric strips, while the cap is decorated with traditional embroidery and ornaments.
A murak or aiyr kalpak is a tall cap with a curved brim with elegant plant motifs. Photo credit: e-history.kz
An ak kalpak, a taller version made of white felt, held deep cultural significance. Ceremonial versions, embroidered with white silk and trimmed with silver braid, were worn by noblemen. For centuries, the ak kalpak was a symbol of honor and respect to distinguished guests, reflecting status and recognition within the community.
A murak, also known as aiyr kalpak, was a luxurious headdress reserved exclusively for khans, sultans, and rulers, symbolizing nobility and high status in Kazakh society. By observing a murak, people could determine the rank and authority of its wearer. It featured a tall cap with a curved brim, reinforced on the inside with fine felt or thick fabric, while the exterior was covered with luxurious materials. Elegant plant motifs were embroidered in gold thread, enhancing its regal appearance.
Headdresses for young girls
Headwear was particularly diverse for women and served more than just a practical purpose; it signified age, social standing, and marital status.
Before marriage, Kazakh girls wore two types of headdresses: the takiya, and a borik, a warm hat with a fur trim.
Unlike men’s takiya, girls’ headwear featured elaborate and colorful decorations, including precious stones, tassels, and silver coins. Owl feathers were sometimes added as a charm against the evil eye.
During colder months, girls wore the borik, a round fur-trimmed hat decorated with pendants. Variations included the kamshat-borik, trimmed with muskrat or marten fur, and the altyn-borik, embroidered with gold. Those adorned with corals were called kalmarzhan-borik. While some borik hats featured owl feathers, this was optional.
The saukele: a bride’s crown
According to Gulzada Shokasheva, a scholar in Asian studies, one of the most elaborate and symbolic headpieces is a saukele, a bride’s wedding headdress. Historically, it was part of a woman’s dowry and required months or even years to make due to its intricate craftsmanship and costly materials.
Kazakh girl in a wedding dress and a saukele headdress. Photo credit: abaicenter.org
“Some interpret the name saukele as derived from the phrase ‘sau kele ma?’ [Will they arrive safely?] This was a reference to the long and often dangerous journeys brides had to make to their new homes, where wedding caravans were vulnerable to attacks. When a wedding procession was spotted from afar, the bride’s tall hat was the first thing visible, prompting messengers to ride ahead announcing, ‘sau keledi! sau keledi!’ [They are arriving safely],” Shokasheva told The Astana Times.
Each saukele was unique, but one feature remained constant—its height. Some reached up to 70 centimeters, and the taller the saukele, the greater the bride’s reverence for tradition. Upon entering the groom’s home, the bride bowed to his relatives.
Shokasheva highlighted that the taller the headdress, the deeper the bow, reinforcing the bride’s humility and reverence. It was considered a good omen if the tip of her headdress touched the yurt’s hearth.
“Long pendants called zhaktau hung from the sides of the saukele, draping along the bride’s face and covering her braids. These pendants are crafted from embroidered fabric or beads. Zhelek, a large white veil, was also attached, covering the bride’s figure and face,” she said.
Headdresses for married women
After marriage, young women wore a zhaulyk, a simple white shawl made of silk or cotton, sometimes trimmed with fur. Initially worn by older wives, it later became common among younger women as well.
Exhibits from the National Museum in Almaty: On the left, a display featuring a shylauysh; on the right, a kimeshek adorned with embroidery. Photo credit: National Museum
As a woman had children, she began wearing a kimeshek, a more structured white headdress that covered the head, neck, shoulders, chest, and back. The front was often decorated with embroidery, pearls, corals, and silver embellishments.
Shokasheva noted that each region had its variation of the kimeshek, allowing people to recognize a woman’s age, place of origin, and marital status at a glance.
“All kimeshek were white, symbolizing purity and motherhood. Even in mourning, Kazakh women continued to wear white headdresses. As a woman grew older and gained more authority, the decorations were removed, leaving only simple stitching. Widows wore plain kimeshek with no ornaments, sometimes turning them inside out to conceal past embellishments,” explained Shokasheva.
Elderly Kazakh women wore a shylauysh, a long white cloth wrapped over the kimeshek, resembling a turban. The taller the shylauysh, the greater the woman’s authority and respect within the community.
“The most esteemed elders, known for their wisdom, wore the tallest shylauysh, marking them as figures of high status both in their village and beyond,” she added.
