Deeply rooted in our tradition, weaving continues to have remarkable exponents, who, with the support of individuals and organizations such as Katerina Frentzou and Branding Heritage, consistently practice and develop it.
*By Ellis Kiss
In Anogia, Crete, Ermioni Kalomiri has been weaving on a horizontal loom for decades. In Tyros, Arcadia, Elisabeth Rodopoulou, a third-generation weaver, works on an upright loom. From one end to the other, Greece preserves and enjoys a rich history in the art of weaving. A history characterized by tradition, which – still – is passed down from generation to generation and is supported by love, pride and, often, a sense of duty. Fast – and ultra-fast – production may be numerically superior, but the hands that continue and often modernize craftsmanship and craftsmanship retain their voice. Much can happen when these voices unite…
A significant initiative has begun to record the weaving tradition of our country
The Weavers of Greece project is a journey into the world of those who continue the weaving heritage, not only in terms of patterns and techniques, but, above all, through the people themselves. It was created by the non-profit cultural organization Branding Heritage (BH) and its driving force is journalist Katerina Frentzou. The project has multiple aspects, such as the preservation of the domestic weaving tradition, the digitization of traditional weaves, the utilization of the art of weaving in contemporary creation, the recording and promotion of artisans, the empowerment of entrepreneurial skills in collaboration with the social enterprise Knowl and the connection with creators in Greece and internationally.
The idea emerged through journalistic research. In 2017, Frentzou began to investigate the connection between craftsmanship and contemporary creation, paying particular attention to weaving. It was a time that marked a fresh wave of Greek chic, with many new brands bringing Greek tradition to the surface through a contemporary perspective. Through her articles, she spoke about the contemporary entrepreneurial utilization of weaving by a new generation of women, but also the existence of male weavers in a space considered female-dominated. Her strong interest and abundant research material led her to establish Branding Heritage in 2018. An organization that explores the connection between Greek cultural heritage and modern creation and entrepreneurship, Branding Heritage is building an ambitious path through multi-level actions that highlight the journey from ancient Greek civilization to the present – and the future.
“Noticing that in Greece there are many people who weave, create and experiment, without however having a comprehensive record or a common framework, I thought it would be useful to gather these voices, document their work and create a living archive, with the aim not only of preserving the art, but also of exploiting it today, with an emphasis on sustainability within a modern social and cultural environment,” explains Katerina Frentzou, referring to The Weavers of Greece. “In 2021, the open call of the Directorate of Contemporary Cultural Heritage of the Ministry of Culture for actions to preserve intangible cultural heritage was the starting point for the design of this specific project, providing the possibility of support to systematically organize the effort.” The BH team began the recording from Crete, with the next stop being the Peloponnese. It is currently being developed in Attica, with the next stop being Western Macedonia. Over 100 weavers have already taken part in the recording, which aspires to be completed in all 13 regions of the country. Creators are often identified by word of mouth, especially when it comes to remote areas. The founder of BH notes that the contribution of local organizations, such as the Development Association of Women Entrepreneurs of Crete, the Tsakonia Archive and the Cultural Association of Geraki, Laconia, is also important. The project is ongoing and the registration platform remains accessible to all those whom the organization has not been able to identify so far.
“Every story we record is a living testimony of cultural identity”
“Their anguish, dedication and love for tradition move us. The weavers welcomed us into their homes and workshops. Women, mainly in mountainous areas, managed with their handiwork not only to equip their homes and create dowries for their children, but also to ensure significant financial support for their households. They used wool – which today is thrown away and burned – and created their own yarns, which they spun with a spinning wheel, dyed with vegetable dyes and wove with their shuttle. For them, the circular economy – the model of sustainable development for which we are fighting today – was common practice for hundreds of years,” notes Frentzou.
The Weavers of Greece highlights multiple beautiful stories
Like that of Konstantina Dikaio from Astros Kynourias, who started on a loom at the age of 16 and today, on the threshold of her eighth decade, joins weaving forces with her granddaughter, Maria Vergou, in a small business called Loomtina. The project also connects creators, such as Cretan weaver Eleni Koukoulaki with the brand Amalthea Athens and designer Elli Sfika, with the former’s weavings being transformed into a limited series of bags by the latter. At the same time, the Melitta brand is inspired by Tsakonian weavings, transferring traditional motifs to a clothing collection.
The Greek Women’s High School of Kalamata also identified Stratigoula Heila through the Branding Heritage database, who currently teaches weaving in its workshops, while Rita Martins Pereira, a weaver/textile artist from Portugal, traveled and was trained at the Weaving Structure of Geraki, Laconia, on the upright loom by the structure’s teacher Chrysoula Stamatopoulou. In the same spirit of knowledge and cultural exchange, the Fashion Revolution Greece Summer School, in collaboration with BH, brought 40 students from all over the world to the Peloponnese, who came into direct contact with Greek craftsmanship and weaving tradition. In Attica, the record also includes an exceptional new generation of Greek textile artists with intense activity at home and abroad, such as Ismini Samanidou, Alexandra Bisa, Maria Sigma and Vasia Vanezi, who explore the world through weaving.
However, beyond the signs of the times, the importance of weaving for Katerina Frentzou herself stems from personal experiences. “I grew up among fabrics, yarns and industrial looms in my father’s textile factory,” she says. “I experienced firsthand the rise and fall of the Greek textile industry, which after the 1990s found itself faced with international competition and the transfer of production abroad. At a time when most units were closing, my father managed to transform his product and keep the factory in his hometown of Kalamata alive, supporting the local community and production to this day, 60 years later, now under the direction of my brother, Konstantinos Frentzos, a significant supporter of BH”. At the same time, she looks to the future and invests in the digital dimension of the project through digital documentation actions. “I believe that digital innovation can function as a means of highlighting heritage, as a tool for reinterpretation. When it arises from respect for tradition, then culture does not lose its soul; it simply changes language”, she emphasizes.
The Foundation for Research and Technology (FORTH) is taking part in the process, which has undertaken the digital recording of 50 Cretan weavers from the institution’s collection, as well as their availability in a digital three-dimensional (3D) exhibition environment, soon available to the public. The study and curation of the collection – which will also be displayed at the National Documentation Center (EKT) – was undertaken by Sofia Tsourinaki, an ancient textile technologist, researcher and professor of Weaving at the SEN Historical Weaving Factory. Another important collaborator of the project, specializing in cutting-edge technology, is the Computational Design Studio – ComDes, which through generative art presents a new digital storytelling, such as a dive of algorithms into a 100-year-old woven fabric from Geraki, Laconia.
“However, the contemporary discussion around Greek craftsmanship has been shaped to a large extent by the great work of the researcher and folklorist, former director of the Research Center of the Academy of Athens, Aikaterini Kamilaki, who has played a decisive role in its revival, highlighting it as a powerful tool for economic development,” continues Frentzou. “This year, craft classes are being introduced in Greek schools, while an important project to revive Greek crafts is the creation of training structures in weaving, ceramics and woodworking by the Ministry of Culture. Some graduates have already registered in the BH database.” At the same time, The Weavers of Greece is under the auspices and support of the Directorate of Contemporary Cultural Heritage of the Ministry of Culture, while support from bodies such as the Ioannis S. Latsis Public Benefit Foundation, the G. & A. Mamidakis Foundation and the G. & V. Karelias Foundation, among others, is also important.
“When I started planning the project, in 2021, I did not feel that I was starting something new, but that I was picking up the thread again from the beginning. And the beginning is the people, the craftsmen, who hold centuries of history and tradition in their hands. “Greek craftsmanship is a valuable part of our cultural heritage and we have a duty to actively contribute to its preservation. Cultural memory does not fade when it is recast, but when it ceases to inspire,” he concludes.
Source: vogue.gr