by Panagiotas / Tinia Georg. Kalkanis – Argyri
published in The Faris Newsletter Issue 82, July 2025, pages 13-15
In the villages of our region, as in almost all the villages of the non-urban areas of the country, until the end of the previous century, their economy was and remained almost self-sufficient and based on exchange among the households as well as the craftsmen of the area. This meant that almost all the needs of homes and families were covered or met through the exchange of their agricultural and livestock farming products and through the exchange of labor and working hours among the residents.
Even the making and the use of “tools” that required specialized knowledge or skills were carried out within the communities of the villages (or in their neighboring ones) by self-construction and self-use. A most characteristic example was the loom which covered the entire process of design, creation, and making people’s clothing (the woolen garments), as well as the necessary bedding, coverings, and decorations of the houses.

Greek History exhibit, Benaki Museum, Athens, Greece.
Complete indexed photo collection at WorldHistoryPics.com.
Here we must refer to our multiskilled ancestors who learned from improvisation, experimentation, applications and improvements, to reach the rationality and the experience of perfection in their self-made constructions (…). Most of them practiced many and different professions (and crafts) at the same time. Giorgis St. Rigakos (or Stylianakos), for example, practiced in Goranoi until his eighty-fourth year, in old age, the professions/crafts of farmer, lumberjack, carpenter, floor-layer, cooper, basketmaker, house roofer, farrier, saddle-maker, tool and loom maker…
We must also mention the women of our villages who had -all of them- exceptional skills and endurance to be wives, mothers, and housekeepers, but also nurses, farmwomen, cooks, seamstresses, bakers, weavers, embroiderers, knitters… with imagination and lateral thinking.
Along with the self-construction and self-use of the loom, we refer in this note to the process of searching, testing, and selecting natural dyes for the threads/yarns from local plants and herbs, completing the making and artistry of the woven fabrics.
We must, of course, remember that up until the end of the previous century there were no such dyes available commercially in a variety of colors. But we must also correct the notion cultivated by many people that every substance (food, medicine, dye, cosmetic, …) that comes from nature is more effective and safer, without side effects, than the corresponding substances that come from chemical laboratories.
Their supposed “purity” (!?) should not be attributed only to their composition—since they consist of the same chemical elements and compounds as the commercial ones—but mainly, their dosage and other characteristics must necessarily be controlled, such as the pesticides, the environment in which they grow (temperature, rainfall, humidity, …), their processing, etc. The artisans of the dyeing industry learned empirically the secrets for achieving beautiful, bright, and -above all- indelible / unalterable colors resistant to light and washing.

It was woven and dyed with natural dyes from plants around 1945 by our compatriot Valaso Solomou, daughter of Konstantinos, wife of Fotios Asimakopoulos, son of Ioannis.
The dyeing of the yarns, after they were washed (always in lukewarm water and with the homemade soap that each family made), was done carefully—coordinating the fire with the boiling—then spreading / wringing them in natural air and without strong sunlight, so that the dye would “set” and become uniform, but without the yarns becoming moldy.
First, however, they had to search for, test, experiment in practice, and select roots, leaves, but also barks and fruits of trees and wild herbs, to create the colors of the dyes they desired. All these were pounded, soaked overnight or boiled, strained, cooled, and afterwards poured into the water where the yarns were, and boiled for four to five hours. They often rinsed them with *alísiva* (lye).
For example, to get the brown color for the yarns (threads), they used husks from green walnuts. To get the dark walnut color or honey color, they added tobacco, while to get the sweet light brown of the ripe apple, they used leaves and soaked dry onion peels. For dark olive or khaki color (and oak color), they used dried acorns. For yellow, they used venetian sumach (Cotinus coggygria) and daffodils; for beige, bark of wild almond trees; while for red, roots and leaves of holly oak and heather. Finally, for dark blue, they bought (!) from the flower shops indigo (a mineral imported from China), which they washed in lukewarm water.
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NOTE: In 2022, the Stavros Niarchos Foundation initiated a collaboration with the Cultural Society of Geraki to investigate and relate the story of the history of weaving in Geraki. The Geraki Weaving website has photos, videos, and descriptions of the project.
I (Carol Kostakos Petranek) am honored to receive permission from the Katsoulakos family to translate and share articles from The Faris. Translation verification and corrections have been made by GreekAncestry.net. This is the twenty-fourth article of the ongoing series. Previous articles can be viewed here.





