Female

Group photo in Platres, 1917. At the bottom is Anna Kyrzi. Standing, from left to right, are Frosso Giorgallidou, Elli, Polina, and Kleio Valdaseridou. The low neckline of their attire is adorned with brooches. The slightly shorter skirts reveal the shoes of the time, with a curved heel. Such skirts, especially during the second decade of the 20th century, prominently display women's shoes, which are always worn in combination with stockings. During this period, short boots with a series of buttons on the sides are still worn. More often, the footwear of the time reaches the ankle and has a high, curved heel and a slightly pointed toe. Shoes are fastened with laces or straps.

Π.Β.Κ6.213

Group photo in Platres, 1917. At the bottom is Anna Kyrzi. Standing, from left to right, are Frosso Giorgallidou, Elli, Polina, and Kleio Valdaseridou. The low neckline of their attire is adorned with brooches. The slightly shorter skirts reveal the shoes of the time, with a curved heel. Such skirts, especially during the second decade of the 20th century, prominently display women's shoes, which are always worn in combination with stockings. During this period, short boots with a series of buttons on the sides are still worn. More often, the footwear of the time reaches the ankle and has a high, curved heel and a slightly pointed toe. Shoes are fastened with laces or straps.

Π.Β.Κ6.213

Unknown female figure with modern attire (early 1910s). The lower part of the high-waisted skirt is adorned with rows of buttons. The skirt is paired with a white, short-sleeved blouse, closed at the neck. The large hat reflects the trends of the era. Fashion at the time also calls for more and varied accessories, such as hats and bags.

Π.Β.Κ6.214

Irene Tsepi (left), sister of Mari Tsepi and wife of G. Georgiadis Papoui, and Eleni Georgiadi Papoui (right), wife of Konstantinos Solomonides (early 1910s). The long dresses of both women have intricate embroidery decoration. The attire is complemented with a variety of jewellery.

In the 1910s clothing becomes more practical, with narrower and slightly shorter skirts and a raised waistline.

Ν.Γ.Κ.Κ8.153

Maria Varlaam Pascotini wearing a long, black jacket over a blouse, and a skirt of light-coloured fabric (early 20th century). Usually, in this combination both the jacket and the skirt are characterized by monochrome, dark colours and a simple line, without decorative elements. It is typically seen in photographs of elderly women who also wear the traditional headscarf. Maria’s attire is complemented with jewellery, a brooch, bracelets and rings.

Π.Β.Κ5.15β

Euphrosyne Valsaseridou in an elegant, white dress richly decorated with lace. By this time (1900s), dresses maintain their closed character with a high neckline, long sleeves, and a long skirt. Despite emphasising the female silhouette in an S shape, retaining the corset, they are now more comfortable. At least in the case of younger women, the appearance is principally characterised by soft, light colours and an abundance of lace. The costumes are either one-piece or two-piece, with a combination of a skirt and a blouse. There is often an additional piece of fabric of the same material as the dress at the neck and shoulders, in a circular or V shape, emphasising the upper part of the body.

Π.Β.Κ6.210

Eugenia Balsamaki Valsaseridi in a formal dress, with a large impressive hat adorned with feathers and a boa (1900s). The base of the neck, which is covered by the closed garment, is adorned by a brooch of significant size. This type of brooch used to be oval or flower-shaped, or smaller and horizontal, ribbon-like, with a decorative element in the centre. During the first two decades of the 20th century, all the luxury is centred around the head. Women's appearance is now characterised by elaborate and impressive hairstyles and large hats with feathers, bows, brooches, and other ornaments. The fashion of the time also required more and varied accessories, long gloves for formal occasions, veils and scarves with feathers (boas).

Π.Β.Κ8.31

Revekka Mavroidi in a luxurious dance gown (1900s), wears a striking dress made of heavy fabric with a double row of lace covering the chest and shoulders, along with additional sewn-on decoration on the long, with rich folds skirt that culminates in a train. Equally impressive is her hairstyle, voluminous around the face, with a high bun secured with a hairpin at the top of the head. This hairstyle, leaving the face and neck free, was particularly popular in the first decade of the 20th century. The black ribbon was added to the photograph after her death.

Π.Β.Κ11.01

The photograph was taken outdoors, in front of a wall, with an open folding screen in the background. The two women stand on a woven striped rug. The older woman is seated, while the younger one stands beside her. They are similarly dressed in clothing of the Amalia type. The attire includes an off-white shirt of taiston silk fsbric made on the loom (with puckered bands created lengthwise by warp threads of two different tensions), a skirt made of European fabric, and a dark-coloured sarka (short jacket/waistcoat) made of velvet or felt. In both attires, the sarka features applied decoration of gold thread, at the deep opening of the chest, the edges at the bottom, and at the wide, slit sleeves, which reveal the wide sleeves of the shirt. The decoration of the sarka worn by the standing figure consists of consecutive floral motifs, while the sarka of the seated figure is decorated with cypresses alternating with other trees, a design particularly favoured in "tsevres" embroidery. The skirts of both figures are very wide, with rich fabric that forms folds and ruffles, following the European trend. The seated figure wears a fez decorated with a garland of flowers and a pin in the shape of a pigeon (dove), while the standing figure appears to be wearing a headscarf with pipilla (needle lace) all around. One edge of the headscarf falls on the shoulder. Around the face, the headscarf leaves the front part of the hair uncovered; the long hair is gathered and falls to the back, most likely in braids. The seated woman wears a necklace consisting of strings with pearls, while her shirt is decorated with a "splinga" (pin) with chains and a watch. The standing figure wears earrings and a necklace ("kertanes") with "paraoudkia" (ottoman coin imitations), as well as a chain with a cross.

N.Γ.Κ.Κ8.154

C/2203/0161

Buckle/clasp of two almond-shaped mother-of-pearl plaques, each set in a silver frame of the same shape. The clasp is of the same type as no. C/2003/0151, with a similar representation of the two-headed eagle in a less sophisticated rendering. The decoration of the silver frame differs, namely in that it consists of a series of repoussé rosettes with chased details, bordering the inset mother-of-pearl panels. On the central clasp element, which covers the fastening, there is a pierced rosette adorned with a green stone and granules. It is surrounded by a row of smaller rosettes, and it is framed above and below by stylised floral designs with chased details. Two bars are soldered on the reverse side of each clasp element.

Total width: 21 cm. Height: 8 cm.

Donation from the A.G. Leventis Foundation.