Kisrawaniyeh Cultural Dress

The predicament of nomenclature the Kisrawaniyeh and its kinds 

The exact origin of the term kisrawaniyeh in relation to these head coverings, commonly known as (hattah) or (futah) in the Levant Arab world, remains uncertain. However, there is a potential link to Druze history in the Levant. The word is derived from the Keserwan district, part of the Kisrawan or Keserwan region situated between Mount Lebanon and the Mediterranean coast in present-day Lebanon, which was once renowned for its thriving textile industry. 

A black Kisrawaniyeh Homsiyeh style; Woven wool and metal scarf – Hama, Syria, c. 1930 – 1940; The Zay Initiative; Acc. No: ZI2021.500908.4 SYRIA; Link

Between the 12th and 13th centuries, Keserwan was on the borders of the four Catholic states in the Middle East and the Arab Muslim states of Damascus, initially under the Abbasids and later the Mamluks. In the 11th century, a sizeable Druze population, an Arabic-speaking ethnoreligious group with origins in Iran and settled in Egypt migrated to Lebanon and dispersed throughout neighbouring regions. The significant presence of the Druze community in Keserwan is evident from the devastating defeat they suffered there by the Mamluks in 1305 CE. 

The Druze community was divided between the north and the south, with the Druze of Syria representing the northern sect and those of Mount Lebanon belonging to the southern sect. A distinctive feature between the two until the 18th century was the colour of their flags, which was also reflected in their veils. The northern Druze typically used white flags and wore white veils, while in the south, they opted for red. 

A red Kisrawaniyeh Homsiyeh style; Silk and metal woven brocade scarf – Syria, c. 1900s; The Zay Initiative; Acc No. ZI2018.500477 SYRIA; Link

It is believed that the futah originally referred to the white veil worn by Syrian Druze women in the north, while the kisrawaniyeh could have been the red veil worn by southern Druze women from Keserwan in Mount Lebanon, possibly produced in the textile factories or looms of Keserwan. However, this distinction based on colour lost its significance after the 18th century due to shifts in political affiliations and other factors, ultimately reducing the terms to general references for veils or head wraps.  

It’s not surprising, considering that the Druze community traces its origins back to Persia, just like the word “futah.” The Arabic term “futah” has its roots in a Persian word that sounds similar, denoting a bath wrapper. Interestingly, this word has even made its way to Eastern Europe, specifically Romania, where it refers to an apron or skirt, akin to the Ottoman Turkish term. However, one could posit that the term found its place in the Turkish vocabulary through the Eastern European population, a significant portion of which had settled in Ottoman Türkiye, particularly in the capital city of Istanbul. 

Head coverings or kerchiefs like this exhibit varying patterns and colours based on regional distinctions, even differing between neighbouring villages. Sometimes, they may even go by the same name but refer to different types. For instance, a kerchief made from a blend of cotton and silk with embroidered patterns is also referred to as the ‘baghdadiyeh‘.  

Furthermore, the stringent decrees and sumptuary laws during the Ottoman era, which outlined and regulated fashion norms for Muslims and non-Muslims alike, added an extra layer of complexity to the matter. This complexity can make it challenging to grasp the distinctions between the different types of hattah or futah. For women, the matter is further complicated, as they typically select different types based on their marital status and age. 

Fabrics especially silk produced in Syria had always been highly sought after all over the Arab world as a sign of affluence. For example, fabrics featuring a central fish or banner-style motif were produced for both foreign markets, like Kuwait and Iraq, and for local clientele, particularly in the towns of Abu Kemal and Deir ez Zor, situated near the borders of Iraq. Silk was traditionally purchased by weight, measured in ‘dirham‘. Up until the 1990s, a significant portion of locally produced Syrian silk in circulation was utilized for crafting head coverings. 

Even with a relatively broad overview, outsiders can still grasp a discernible distinction among the head coverings of the region. However, it is important to consider the expansive Arabic vocabulary and the influence of modernization. Keeping this in mind, let’s delve into the fundamental and overarching types of hattah or headgear in the area. 

Homsiyah 

A particular style of kisrawaniyeh, woven in silk and often incorporating precious and semi-precious metal threads in a brocading lancé style, is also often regionally referred to as hattah or futah in the Levant Arab world. It was predominantly crafted in Homs, earning it the moniker homsiyeh. Homs boasted a thriving weaving industry, much like Aleppo, equipped with looms and machinery imported from Lyon, France. While a few weavers in Aleppo did produce this style of kisrawaniyeh, one in particular gained renown for its distinctive double lion’s head motif, serving as both a mark of authenticity and a maker’s signature. It is possible that this specific design was either more favoured in and around Homs or was produced there in greater quantities, hence the association with the term homsiyeh. 

A black Homsiyeh; Brocade silk scarf – Syria, c. 20th century, The Zay Initiative; Acc. No. ZI2021.500964b SYRIA; Link

Stanbuli 

Syria’s extensive history within the Ottoman Empire, coupled with its proximity to the imperial capital in Istanbul, exerted a profound influence on the region’s culture. This influence extends across present-day borders, connecting Türkiye, Iraq, and Syria. A unifying factor in these three countries is the Kurdish community, which settled in areas around their shared borders. During the Ottoman era, this community frequently migrated and traversed between these nations. While not inherently an Arab community, the Kurds assimilated aspects of Arab culture. One notable outcome of this integration was the adoption of the Arab-style hattah. 

A striped Kisrawaniyeh or Stanbuli; Striped silk scarf with tassels – Syria, c. 19th – 20th century; The Zay Initiative; Acc. No. ZI2019.500742.2 SYRIA; Link 

In both the Levant and the border towns of present-day Türkiye, the Kurdish community showed a preference for shades of lilac and green. This preference gave rise to a type of hattah that prominently featured these colours, either through designs or patterns. These head coverings came to be known as (stanbuli), likely because Kurds were perceived as native Turks, linking them to the capital city of Istanbul. 

Mghammah 

A favoured style of hattah, particularly among women from northern Syria, was the mghammah. These head coverings were often crafted with a dark, sometimes even black, background, although it’s believed that they were once also produced in white or ivory. Unfortunately, for reasons unknown, the white versions ceased to be produced. Experts cannot pinpoint the exact time when these white versions fell out of fashion. However, the darker variations, especially those in various shades of red, remained popular until the late 1990s. While the traditional ones made of heavy silk with metal threads can be costly, the advent of modernization saw the rise in popularity of lighter synthetic materials with lurex due to their affordability. 

Conclusion 

This provides us with a broad understanding of how a headwear style that was popular amongst the Druze, who migrated from Iran through Egypt to the Levant, evolved and gave rise to various iterations. It eventually became an integral element of the culture, spanning across different communities – including the Druze, Arabs, and Kurds – in the region.