The Gabrovo-style sokai was a favorite of the artist Mrkvička. The ethnologist Svetoslav Petrov did not rule out the possibility of presenting sokai abroad, where haute couture designers would undoubtedly take an interest in it.

On Thursday in Razgrad, in an open-air event at the Ethnographic Museum, the author of the monographic study “Sokai” — ethnologist Svetoslav Petrov — presented to the residents of Razgrad the bridal head covering “sokai,” which is characteristic of the region of the Fore-Balkans and the Balkan Mountains. The presentation of the sokai was accompanied by a great deal of highly interesting ethnographic information.

The event was organized by the Regional History Museum. Citizens—enthusiasts of folklore and ethnography—attended, and among the guests was also the Deputy Mayor of Razgrad Municipality, Polina Ivanova.

The presentation of the sokai began with a performance by the children’s dance school “Horche.” The Director of the Regional History Museum, Tanya Todorova, opened the event, emphasizing the fact that there is also Balkan population in the Ludogorie region—for example, in Pobit Kamak, where the traditions of this ethnic group are preserved. There is an Ethnographic Complex there that maintains the Balkan authenticity of houses and exhibits.

The author of “Sokai,” who is also the director of the Historical Museum in Elena, presented the historical sources of information about this type of bridal head covering. He first came across references during the research of folk costume scholar and painter Evgenia Lepavtsova at the Ethnographic Museum in Sofia around 2012, after which he began reviewing and studying examples of sokai in museum collections and later proceeded to field research. The ethnologist noted that no complete sokai costume has been preserved in Bulgaria, but jewelry elements have survived.

Among the sources of information about sokai are also two paintings by the master of historical painting, the artist Jan (Ivan) Mrkvička, one of which depicts an elderly woman wearing a sokai from the Gabrovo region.

After detailed research, the ethnologist established that the last recorded evidence of sokai dates back to 1940, when a Tarnovo-type bridal head covering was worn by a woman from Kilifarevo at her wedding, after which she donated it to the Kilifarevo museum.

The bridal head covering sokai has deep roots in the past, with different theories regarding its origin and establishment in traditional Bulgarian women’s clothing, Svetoslav Petrov commented. One of the versions involves the resettlement of Bulgarians in the inaccessible Balkan Mountains, while Ottoman influence is also not ruled out. Petrov’s field research began in 2012, and all data indicate that the sokai was a type of head covering characteristic of the Balkan ethnic group known as Balkandzhii, who inhabited the northern parts of the Fore-Balkan region and the Balkan Mountains. The tradition began to fade in the late 19th and early 20th century, which posed a significant challenge for the ethnologist.

The author of the study presented a demonstration of the three types of bridal sokai head coverings—Tarnovo, Gabrovo, and Lovech styles. Three young women took part in the demonstration, and their beauty fully revealed the originality and elegance of the sokai. Svetoslav Petrov enriched the presentation with extensive information about the fabrics, ornaments, and materials used for each of the three types of head coverings, demonstrating not only ethnographic knowledge but also a clear design understanding in shaping and combining the elements of the sokai.

The Tarnovo type of sokai was presented first. Details of the costume associated with it indicate that the preferred textiles include velvet, printed cotton, and silk, while braids and decorative trims are also used; aprons are part of the attire as well. An interesting element complementing the Tarnovo sokai is the boots worn by the women. At the core of the Kilifarevo sokai construction is a red headscarf, the ethnologist explained during the demonstration. A metal element, resembling a crown, is also placed on the head, and a chin covering is formed. The jewelry in the Tarnovo sokai includes three to four linked earrings, as well as silver chains, which were sometimes replaced with beads. Another notable feature is how the elements of the head covering are secured—this is done with a cloth (mesal) embroidered with sokai-style patterns. According to the data, these embroideries were handmade by the brides themselves. Finally, strings of coins are added.

The Gabrovo sokai includes a vertical board used to reinforce the head covering, as well as wrapping with a mesal (cloth). Curious data suggest that women were not able to secure the head covering on their own, which is why this was done with someone else’s help. As a result, they sometimes had to sleep while still wearing it, and for this reason they were occasionally the subject of jokes and teasing, saying that a “hole had formed in their head.” Thus, alongside the presence of a reinforcing board in the Gabrovo sokai, the well-known expression “his board is knocking” is said to have emerged, which is still used in everyday speech today. A woman wearing a sokai from Gabrovo is depicted in a painting by the famous artist Mrkvička, which attracted great interest abroad.

The Lovech type of sokai was also presented, in which a wide variety of ornaments are used.

Overall, the bridal head covering subtly and unobtrusively revealed the wealth of the family, so the sokai, in addition to its beauty, also conveyed certain information about the bride.

After the demonstration, an open discussion followed between ethnologist Svetoslav Petrov and the residents of Razgrad, during which he answered all questions. Petrov is undoubtedly a worthy successor to the research work of Evgenia Lepavtsova, not only through his studies but also through his efforts to popularize the sokai in various cities across the country, and thus Bulgarian cultural heritage as a whole, as the meeting with him demonstrated.

The Director of the Regional History Museum, Tanya Todorova, expressed her gratitude to Svetoslav Petrov for the unforgettable experience.

In an interview with journalists, he did not rule out the possibility of presenting the sokai abroad, should favorable circumstances arise. Undoubtedly, its original and striking elements would attract the interest of leading haute couture designers and could potentially become part of contemporary clothing—for example, combining boots with chains and earrings. In this way, the sokai could gain a new life and popularity beyond the country’s borders. Supporting this is also the fact that Mrkvička’s paintings attracted interest abroad. The sokai, with its beauty and uniqueness, deserves to be revived and to continue the tradition in new, modern forms, as noted by residents of Razgrad present at the event.

The sokai demonstration was an exceptionally pleasant and inspiring experience for the residents of Razgrad at the Ethnographic Museum, and it was preserved in photographs together with ethnologist Svetoslav Petrov.