The original foundation garment is the chemise, pokamiso. Like in so many places in Europe, this term is now used to mean shirt. It has the same standard cut as is found in Macedonia and the Balkans. There is embroidery on the cuffs, around the neck opening, on the hem and along the seams on the outside of the sleeves and on the bottom part of the chemise.
There is also a solid row of tassels attached to the hem, and tassels on the sleeve ends which have spaces between them. Along with the amount of embroidery, the length of the tassels varies by district, and of course, pokamisa meant for more dressy occasions have more embroidery and longer tassels than those meant for more everyday occasions. The modern simplified stage version of the costume usually keeps the tassels but omits the embroidery, or replaces it with a simple band of black trim, which is a real shame.
Instead of making several chemises, the Karagounai would only make three, and then make several different sets of sleeves. The armholes would be finished so as not to ravel, and the sleeves would be basted into place for wearing.
On more formal occasions, as this woman above is doing, extra ornaments are added to the sleeves. Compare her sleeves to the entire kavadi shown above.
These separate decorative cuffs are called manikoulia and have a variety of different embroideries. This is another way of wearing a variety of ornamentation without making multiple garments.
These area attached with hooks and eyes. They are always narrower on the ends which lie under the arms for more ease of movement. The narrow ends are generally not visible when worn.
Finally, over the fanella, the pokamiso, the trachilia, the undersaya, the kavadomanika and the oversaya is worn a vest, called yilekia. This word is cognate to both the south slavic term jelek and the French term gilet. The yilekia is short, not quite reaching the waist, except for two tabs in front which are found in some regions and which tuck under the belt to hold it in place.
The yilekia is completely covered in cord embroidery except for a rectangle in back. Many of them have exquisite cordwork.
Two different aprons are worn with this costume, the podia and the mesa podia. If you peruse the various images in this article you will see that either may be worn, or ideally, both together.
The underapron, the mesa podia is made of silk, usually has embroidery on the bottom edge, and perhaps a flounce or fringe. This is an elaboration of the plain everyday apron seen above. It can be of almost any color, is longer than the saya and almost as long as the pokamiso.
Angeliki Hatzimichali, 'The Greek Folk Costume vol 2', Athens, 1984
Ioanna Papantoniou, 'Greek Costumes', Nafplion, 1981
Popi Zori, 'Embroideries and Jewellery of Greek National Costumes', Athens, 1981