cuextecatl.

Chictlapanquj cuextecatl, çectlapal xoxouhquj, cectlapal coztic in eoatl, icopil ujtzauhquj, no chictlapanquj, cectlapal xoxouhquj, cectlapal coztic quetzaltica cujtlalpic, ixquateucujtlaio, coztic teucujtlatl in jiacametz, ipipilol coztic teucujtlatl, imamalacaquetzal = [For] the bi-colored Huaxtec, the shirt was half blue and half yellow. His conical, pointed cap was also bi-colored--half blue and half yellow, and it had quetzal feathers girt at the base and a golden [disc] at the front. Gold was his crescent-shaped nose plate; his ear pendants were gold; and his spindles were of quetzal feathers. (central Mexico, sixteenth century)
Fr. Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain; Book 8 -- Kings and Lords, no. 14, Part IX, eds. and transl. Arthur J. O. Anderson and Charles E. Dibble (Santa Fe and Salt Lake City: School of American Research and the University of Utah, 1951), 35.

a feathered suit that enclosed the body; a figure who plays a role in dances
Justyna Olko, Turquoise Diadems and Staffs of Office: Elite Costume and Insignia of Power in Aztec and Early Colonial Mexico (Warsaw: Polish Society for Latin American Studies and Centre for Studies on the Classical Tradition, University of Warsaw, 2005), 158.

Although this involved an entire costume, the headdress component was one of the key elements. See, for instance, the example from the Florentine Codex (VIII, 35): "iztac cuextecatl iamacal ujtzauhquj, quetzaltica cujtlapic, ixquateucuijtlaio, imamalacaquetzal teucujtlaio" = white, Huaxtec, pointed, conical, paper cap had quetzal feathers bound at the base and a [disc] of gold at the front; it spindles were of quetzal feathers and gold."
Justyna Olko, Turquoise Diadems and Staffs of Office: Elite Costume and Insignia of Power in Aztec and Early Colonial Mexico (Warsaw: Polish Society for Latin American Studies and Centre for Studies on the Classical Tradition, University of Warsaw, 2005), 160.

tlacahualizcuicatl cuextecayotl = a Huastecan style song (ca. 1582, México)
Luis Reyes García, ¿Como te confundes? ¿Acaso no somos conquistados? Anales de Juan Bautista (Mexico: Centro de Investigaciones y Estudios Superiores en Antropología Social, Biblioteca Lorenzo Boturini Insigne y Nacional Basílica de Guadalupe, 2001), 188–189.

ome pancocolli nahui maçohualoni ce chimalli cuextecatl nahui toecomatl huehuey ome tepitoton = dos como abanicos de pluma y un broquel de pluma y una figura que llaman quistecal que sacan en sus bailes, y cuatro tecomates grandes y dos chicos
Vidas y bienes olvidados: Testamentos en náhuatl y castellano del siglo XVII, vol. 3, Teresa Rojas Rabiela, et al, eds. (México: CIESAS, 2002), 242–243.

yxquich nica[n] monamacaquiuh in tenitl yn cuextecatl = Todos aquí vendrán a venderse, el tenitl y el cuextecatl (ca. 1582, México)
Luis Reyes García, ¿Como te confundes? ¿Acaso no somos conquistados? Anales de Juan Bautista (México: Centro de Investigaciones y Estudios Superiores en Antropología Social, Biblioteca Lorenzo Boturini Insigne y Nacional Basílica de Guadalupe, 2001), 158–159.

yquac meuh tlacahualizcuicatl cuextecayotl = en ese entonces se interpretó el tlacahualizcuicatl cuextecayotl, [“canto del desamparo al estilo huasteco” que no se menciona en los Cantares Mexicanos] (ca. 1582, México)
Luis Reyes García, ¿Como te confundes? ¿Acaso no somos conquistados? Anales de Juan Bautista (Mexico: Centro de Investigaciones y Estudios Superiores en Antropología Social, Biblioteca Lorenzo Boturini Insigne y Nacional Basílica de Guadalupe, 2001), 188.