GREECE IS_THEASSALONIKH_2025-2026

TR AVEL, CULTU R E, GASTRONOMY & MO RE

Thessaloniki

THE LADIES OF AIGAI A WALK THROUGH SEVENTEEN CENTURIES

EVANGELOS GEROVASSILIOU, THE WINE PIONEER

VERIA: THE PERFECT GETAWAY

ANASTASIA GOLD BRACELET

EVRIDIKI GOLD BRACELET

CLEO GOLD BRACELET

EVANGELIA GOLD BRACELET

BRUNELLO CUCINELLI

ZEGNA

KITON

TOM FORD

BERLUTI

BRIONI

ETRO

LORO PIANA

JACOB COHEN

SANTONI

CANALI

CORNELIANI

HERNO

MANDELLI

MOORER

ORLEBAR BROWN

PAUL AND SHARK

ISAIA

BOSS

VILEBREQUIN

POLO RALPH LAUREN

PT 01

MOOSE KNUCKLES

LARDINI

INCOTEX

BARBA NAPOLI

ELEVENTY

SERAPHIN

COLOMBO CASHMERE

PREMIATA

LUIGI BORELLI

CESARE ATTOLINI

FEDELI

THESSALONIKI, ON THE MOVE

BY THE GREECE – IS TEAM

THERE’S A HUM TO Thessaloniki this year – the sound of a city adjusting its rhythm. With the long-awaited opening of the metro, an engineering feat that doubles as an underground museum of antiquities, the conversation has shifted from “If ...” to “What’s next?” Test runs on the Kalamaria extension began in September, pushing the network seaward and signaling a more connected urban future.

Above ground, the city’s fabric is being rewoven. The Flyover, an elevated artery along the eastern ring road designed to ease the bottlenecks that have tested the patience of the city’s drivers for years, is moving steadily forward. At the port, record results and an approved master plan confirm a maritime hub that’s thinking in decades, not seasons, while anticipation is building for the Metropolitan Park taking shape on the grounds of the former Pavlos Mela army barracks.

Momentum is visible on the arrivals board, too. Thessaloniki Airport welcomed more than 4.3 million passengers in the first seven months of the year – a 7.3 percent increase year-on-year – with growth climbing to 10 percent by September. The hospitality sector is also keeping pace. New arrivals are broadening choice and raising the bar for quality. Cruise calls keep stacking up, while the port readies for its next leap. The challenge now is to channel that growth into better city experiences, higher value and more sustainable flows.

This is also a significant year for cultural institutions. The 66th Thessaloniki International Film Festival has cemented its place as one of the Mediterranean’s premier cinematic gatherings, spotlighting Balkan voices and bringing audiences back to the city’s historic theaters. Later this month, Open House will once again transform the city into a living museum of design and memory, turning buildings into stories and streets into itineraries. The Holocaust Museum of Greece, a testament to remembrance that will become an integral part of the living cityscape, has already entered its construction phase.

Between sea and skyline, the city is finding its stride. At last, Thessaloniki feels less like a promise deferred and more like a promise kept – and renewed.•

by

www.internistore.com · www.modabagno.gr · T. 2310 431000 · www.baxter.it

photography

Andrea Ferrari

10 | HAPPENING NOW

Events, exhibitions and new openings for a richer urban experience.

32 | FAVORITE THINGS

Creative locals share their personal city tips.

38 | CITY SCENES

Thessaloniki, captured through the lens.

44 | HIGH EXPECTATIONS

A dynamic metropolis redefining its place at the heart of the Balkans.

54 | FOUR VOICES, ONE CITY

Cultural leaders reflect on history, art, memory and change.

62 | A WALK THROUGH SEVENTEEN CENTURIES

An itinerary of eleven landmarks showcasing the city’s enduring grandeur.

78 | THE LADIES OF AIGAI

At Aigai’s new museum, the forgotten queens of ancient Macedonia reclaim their place in history.

86 | ECHOES OF BLOOD

From the fall of a monarch to the silencing of a voice for peace, Thessaloniki has witnessed murders that changed Greece’s course.

94 | THE GATEKEEPERS

On the city’s eastern edge, a community with roots stretching back to Byzantine times.

100 | A THREAD OF SILK, A STORY OF GRACE

Near Serres, a woman keeps the rare art of sericulture alive, breeding silkworms and crafting silk treasures by hand.

106 | VERIA, A TROVE OF HISTORICAL AND NATURAL TREASURES

With its lush riverbanks, fine museums, Byzantine and postByzantine churches and some very good food, Veria is the perfect place for a mini break.

CONTENTS

116

| WHAT IS A “KOUTOUKI”?

An insider selects 13 spots that still capture the warmth and spirit of this classic modest eatery.

126 | IN LOVE WITH THE VINEYARD

Evangelos Gerovassiliou: The story of a true Greek wine pioneer, in his own words.

136 | STREET FOOD

From a postmodern bougatsa to woodfired pizza and pirozhki, street food here celebrates both tradition and innovation.

EXECUTIVE EDITOR

Alexis Papahelas

PUBLISHED BY:

Nees Kathimerines Ekdoseis

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ON THE COVER

Artwork by Dimitris Tsoumplekas

Timeless elegance

Discover the ultimate luxury address in Thessaloniki’s glittering promenade

Leoforos Nikis 5, Thessaloniki, Greece onresidence.gr

PHOTO: GUILLERMO KAHLO, 1932.DIEGO RIVERA & FRIDA KAHLO ARCHIVES.BANK

Happening Now!

Events, exhibitions and new openings for a richer Thessaloniki experience.

BY THE GREECE-IS TEAM

Frida Kahlo: A Life in Images

“FRIDA KAHLO WAS STRATEGIC with the camera – she would gaze directly into the lens, head slightly turned to the side. She constructed a persona, she staged her own presence,” notes photographer and writer Pablo Ortiz Monasterio. Nearly sixty years after the Mexican artist’s death, Monasterio undertook the task of cataloguing the vast trove of photographs discovered in Casa Azul. Curated by Monasterio, the resulting exhibition, “Frida Kahlo – Her Photos,” unveils an intimate visual map of Kahlo’s life. For her, photography was never merely a tool of art; it was a mirror reflecting her relationship with identity, love, politics and, above all, the pain she never concealed. xenia georgiadou → Until 04/01/26, 2026 MOMus - Thessaloniki Museum of Photography. Warehouse A, Pier A, Thessaloniki Port Area, momus.gr

Echoes of War

THE EXHIBITION “Bringing History to Life,” co-organized by the Ministry of MacedoniaThrace and the National Historical Museum, transports visitors to the turbulent years of 1940-1944. In a vivid chromolithograph by Kostas Grammatopoulos, women ascend the rugged slopes of the Pindos Mountains, burdened with supplies yet radiant with courage, in an enduring image of daily heroism and self-sacrifice. Periklis Vyzantios’s painting “Mobilization in Delphi” (1940) captures the emotion sparked by the outbreak of the Greco-Italian War, while the works of Frederick Carabott depict the somber experience of captivity. A special section is dedicated to the Macedonian Struggle (1904-1908), featuring personal relics and archival materials from the Museum of the Macedonian Struggle Foundation. xenia georgiadou → Until 28/02/2026 Thessaloniki Administrative Building (Dioikitirio), Dioikitiriou Square, nhmuseum.gr

A City-Wide Museum

WHY IS THE YMCA building such a defining landmark of Thessaloniki? Which workspaces are redefining contemporary design? And what stories are hidden within the grand villas along Vasilissis Olgas Avenue? The answers will be revealed during Open House Thessaloniki, the city’s beloved architectural event, returning for its 13th edition. For one weekend, Thessaloniki itself becomes a museum, with architecture as its main exhibit. From Vardaris to the Castles and from the Old Slaughterhouses to Panorama, dozens of landmarks are opening their doors to the public. This year’s program also includes Open Walks, thematic tours that reveal lesser-known spots where architecture, history and daily life meet in unexpected ways. pantelis tsompanis → 22-23/11/2025, openhousethessaloniki.gr

Into the Depths of Time

STONE AND BONE TOOLS, pottery, sculptures, inscriptions, coins, bronze weapons, clay figurines, jewelry, votive images, anthropological, archaeobotanical, and archaeozoological material, and even contemporary artworks reveal the cave as an integral part of human existence. The exhibition “In the Cave: Stories from Darkness Brought to Light” unfolds across five thematic sections and features 296 objects dating from the Palaeolithic era to modern times. The exhiition explores the cave not merely as a geological formation but as a lived space, at times associated with trauma and confinement, at others with ritual, revelation and shelter.

xenia georgiadou

→ Until 31/12/2025 Archaeological Museum of Thessaloniki, 6 Manoli Andronikou, amth.gr

Greece Through a Modern Gaze

THE UKRAINIAN PAINTER and art theorist Alexis Gritchenko bridged East and West through his visionary art. After his formative trip to Paris in 1911, he developed a distinctive visual language that fused the modernist movements of Fauvism, Cubism and Futurism with the Byzantine tradition. In 1919, he was offered the directorship of Moscow’s Tretyakov Gallery, an honor he declined before fleeing via Crimea to Istanbul, leaving everything behind. By 1921, he had settled in Greece, where he remained for two years, capturing the country’s light and spirit in radiant compositions. The exhibition “Alexis Gritchenko (1883-1977), The Greek Adventure: A Ukrainian Avant-gardist in Greece” traces his journey from Athens to Mystras, Delphi, Olympia, Thessaloniki and the islands, as he depicted ancient ruins, temples, and landscapes through a modernist gaze of bold geometry and explosive color. xenia georgiadou

→ From 22/11/2025 to 30/04/2026

MOMus-Museum of Modern Art, 1 Kolokotroni, Moni Lazariston, Stavroupoli, momus.gr

Between Light and Shadow

“I WAS OBSERVING the shades of green under the sunlight and the shadows as one leaf overlapped another. The organic shapes of the leaves often reminded me of the human figure,” says Philippos Theodorides, describing the inspiration behind a body of work in which nature is rendered not as landscape but as rhythm and breath. In his exhibition “The Sound Between the Leaves,” Theodorides presents collages, drawings, photographs, and paintings that deconstruct organic forms and reassemble them into pure, abstract shapes in an exploration of the quiet dialogue between light, shadow and movement. xenia georgiadou

→ Until 02/12/2025 Nitra Gallery, 51 Philippou, Roman Forum nitragallery.com

LUNARE

GIOBAGNARA

BAOBAB COLLECTION

HELLE MARDAHL

Wim Mertens in Concert

BELGIAN COMPOSER Wim Mertens returns to Greece for a one-night-only performance at the Royal (Vasiliko) Theater, presenting the world premiere of his new album “As Water Is to Fish.” The concert, two and a half hours long, interlaces new compositions and such career-defining works as “Struggle for Pleasure,” “Often a Bird,” and “Maximizing the Audience.” With just his piano and voice, Mertens crafts a spellbinding musical language that is minimalist in form yet profoundly affective. xenia georgiadou

→ 01/12/025

Royal (Vasiliko) Theatre White Tower Square

Operatic Magic with Angela Gheorghiu

WORLD-RENOWNED Romanian soprano Angela Gheorghiu comes for a one-night-only performance with the Thessaloniki State Symphony Orchestra, conducted by Spanish maestro David Giménez, nephew of the legendary José Carreras. The audience will enjoy Gheorghiu’s expressive voice, flawless technique and captivating stage presence, qualities that have established her as one of the most magnetic opera singers of our time, in this coproduction of the city’s Concert Hall and the Thessaloniki State Symphony Orchestra.

xenia georgiadou

→ 15/12/2025

Thessaloniki Concert Hall

25 Martiou & Paralia tch.gr

The Café on the Water

WITH ITS FRESH, contemporary aesthetic, the MOMus-Museum of Photography now welcomes visitors to redesigned spaces with a distinctly modern character. The ultramarine blue that defines the entrance and museum shop brings vibrancy and depth to the space, thanks to the design intervention of mma architects. Overlooking the port, the museum’s café appears to float above the water, offering a serene yet lively setting for coffee or brunch. The spot’s name “Hush” is inspired by the silence that precedes inspiration: that quiet pause before the shutter clicks and the perfect image is captured. stavroula kleidaria → Pier 1, Thessaloniki Port

The Legacy of Thessaloniki

MARKING THE CENTENARY of the Aristotle University of Thessaloniki and the 25th anniversary of the Teloglion Foundation of Art, the exhibition “Techni – Diagonios and the Museum That Never Happened” brings together over 600 works and archival materials from two landmark institutions: the Techni Macedonian Art Society, and the Small Gallery – Diagonios founded by Dinos Christianopoulos. From the 1950s to the mid-1990s, these two organizations shaped the city’s cultural core through pioneering exhibitions, educational programs, and artistic initiatives, leaving behind a lasting creative legacy. As curator and director Alexandra GoulakiVoutyra notes, “Although Techni and Diagonios seemed to move in opposite directions – Techni looking outward to the Greek avant-garde and Diagonios focusing on Thessaloniki’s own artists – they were driven by the same passion: to serve the city and support its younger generation.” xenia georgiadou

→ Until 10/02/2026

Teloglion Foundation of Art, A.U.Th. 159A Aghiou Dimitriou teloglion.gr

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Wearable Thessaloniki

“THESSALONIKI IS A PLACE with an irresistible rhythm: offbeat yet elegant, layered with a rich heritage, standing timelessly at the crossroads of East and West, myth and modernity.” With these words, Zeus+Dione announced the opening of its first boutique in the city (46 Proxenou Koromila), along with the debut of a limited-edition silk accessory that doubles as a work of art: “Thessaloniki.” Designed by Em Prové in collaboration with the brand’s creative director Marios Schwab, the square scarf maps the city both geographically and emotionally, tracing its hills, landmarks, and boulevards in delicate, hand-drawn lines, interwoven with symbols and subtle references to the city’s Macedonian heritage. As Prové explains, “Each illustration began in pencil, then continued in black Indian ink, the brush moving carefully – but never too carefully. I like the line to breathe, to be elegant yet imperfect.” It’s the perfect way to carry a piece of Thessaloniki with you wherever you go. nena dimitriou → zeusndione.com

The DNA of Style

IN THE HEART OF THE CITY, Eleanna Tabouri introduces Nevro, a brand devoted to precision, craftsmanship and timeless tailoring. Her recently opened atelier and showroom present hand-sewn blazers, jackets and outerwear pieces of refined aesthetics, each garment meticulously crafted one stitch at a time. At the core of the collection lies what Tabouri calls the “blazer DNA,” a design identity that runs through every piece, even unexpected ones such as dresses with lapels and tailored collars. The name “Nevro” stems from the idea of the blazer as the neuron of a wardrobe – a vital point of connection, the centerpiece that ties everything together. Having studied Tourism Management in Milan, Tabouri credits the city for sharpening her aesthetic sensibility and shaping her creative perspective. Returning to Greece, she founded Nevro on principles of sustainability and slow fashion: limited stock, small runs and many pieces made to order. “Women in Thessaloniki,” she notes, “wear the blazer as it deserves to be worn, with strength, ease and confidence.”

nena dimitriou

→ @nevro_blazer, 8 Kalapothaki

Slow food for the soul

NEAR THE ROMAN FORUM, Soumaki is a small, unpretentious eatery where chef Giorgos Papounidis celebrates Greek cuisine with seasonal ingredients and traditional recipes. He serves hearty, flavor-packed dishes made with care, including his signature slow-cooked goat with pasta; young mutton with chickpeas and galomizithra cheese; meatballs with fries; and grilled pork knuckle. The menu is complemented by a fine selection of beers, tsipouro and bottled wines, all at refreshingly reasonable prices. Here, simplicity reigns and the food speaks for itself.

john papadimitriou → 79 Olympou

Retro Flavors, Fresh Start

LOCALS IN THESSALONIK i often start their day with a warm slice of sweet or savory bougatsa. This beloved breakfast staple, made of buttery layers of phyllo filled with either custard, cheese, minced meat or spinach, has found a new home at Tzeneral, a recently opened pâtisserie in the heart of the city. Blending retro aesthetics with authentic flavors, Tzeneral reintroduces Thessaloniki’s pastry star in the most delicious way. Each bougatsa is crafted daily with homemade filo dough, filled with classic choices and baked to golden perfection. Try the custardfilled or the mixed spinach-andcheese version, ideally paired with the homemade chocolate milk – thick, velvety and nostalgically comforting. pantelis tsompanis → 44 Pavlou Mela @tzeneral_zaxaroplasteio

Soul Connection

THE NAME F Ó LKI (Icelandic for “people”) is a fitting choice for a space built around interaction, creativity and community. This all-day spot has quickly become a favorite hangout for Thessaloniki’s young and vibrant crowd. Petfriendly and dotted with witty mottos across its walls, Φólki also hosts the work of a different local artist each month, turning coffee breaks into cultural encounters. Come for the exhibition, stay for the affogato. stavroula kleidaria

→ 5 Stratigou Makrygianni

A New Culinary Approach

ONE OF THESSALONIKI’S most talked-about chefs, Yiannis Loukakis, has joined forces with acclaimed pastry chef Spyros Pediaditakis to launch Orbital, a bold new gastronomic project that blurs the line between bakery and restaurant. Opened in September, Orbital produces its own breads and desserts on-site, each crafted with laboratory precision and the warmth of a neighborhood bakery. Diners can enjoy them in-house or take them home. Among the standout dishes are the much-discussed rooster schnitzel with pickled okra and mashed potatoes, and the traditional sourdough pie filled with mutton pastirma and melted kasseri cheese, two creations already making waves on the city’s dining scene. The concise wine list offers every selection by the glass, while the rakí from Iliana Malihin in Rethymno, made from native Thrapsathiri and Liatiko grapes, adds a distinctly Cretan touch. john papadimitriou → 3 Platonos

Favorite THINGS

CREATIVE LOCALS OFFER THEIR OWN TIPS

BY STAVROULA KLEIDARIA

ATHAN DAPIS

Visual artist @athandapis

1. The MOMus museums (at the port, the TIF and the Lazariston Monastery) always have interesting exhibitions; the Byzantine Museum is an architectural masterpiece, designed by architect Kyriakos Krokos.

2. You can see up to 15 UNESCO cultural heritage monuments, most within walking distance of each other. From the Church of Panaghia Chalkeon (2 Chalkeon) with its splendid architecture to the Church of Aghioi Apostoli (1 Olympou) with its frescoes and mosaics, they are all so important.

3. I prefer quiet places such as Philia (Navarinou Square) or Purovoku (3 Karipi), which has taken cocktails to another level entirely. My “nightcap” is often a sandwich from Kantina Othonas in Nea Paralia.

4. The colorful atmosphere at Piece of Cake (19 Chrysostomou Smyrnis) goes perfectly with its very good coffee and delicious cakes. Must-tries are the red velvet and the carrot cake. A timeless classic is the Kitchenbar at the port, with the most beautiful views of the city.

5. On Sundays I wake up late. I usually have my coffee, and later my lunch, at Kappu (16 Palaion Patron Germanou) before I head to Toumba Stadium to watch PAOK play.

1. Cultural destination

2. Only in Thessaloniki

3. Night out

4. Favοrite coffee place

5. Sunday ritual

ISMINI TORNIVOUKA

Director of Operations

Tor Hotel Group

@isminious

1. The Museum of Byzantine Culture is Thessaloniki’s quiet jewel, a serene, beautifully curated space that reflects the timeless spirit of Byzantine art. It’s where you feel the city’s soul most deeply: contemplative and eternal.

2. A walk on the New Waterfront captures the best of Thessaloniki: the sea breeze, the light, and the rhythm of the city. A koulouri or a creamy bougatsa in hand completes the ritual. But what truly defines the city is how easily you run into friends there.

3. Dinner at Olympos Naoussa is pure Thessaloniki elegance, a legendary restaurant recently revived. And then there’s Gorilla Bar (3 Veroias) : vibrant, eclectic and full of life, the kind of place where everyone somehow knows everyone else.

4. Shed (11 Patriarchou Dionysiou) and Peach Boy (44 Ermou) are my go-tos. Both capture the modern Thessaloniki spirit: creative, stylish and effortlessly welcoming.

5. Brunch with the kids at Ergon Agora (42 Pavlou Mela) is our family tradition. Lunch at Clochard (10 Komninon & 23 Mitropoleos) is a timeless Thessaloniki experience.

The revival of a legend

Nearly 100 years after its first opening, Olympos Naoussa has returned to Thessaloniki’s waterfront. True to the Greek urban cuisine values and the city’s gastronomic traditions, it awaits you to discover it.

Leoforos Nikis 5, Thessaloniki, Greece olymposnaoussa.gr

LABRINI STAVROU

Co-founder of the fashion brand Ancient Kallos @labrini_stavrou

1. Every November, Thessaloniki hosts its International Film Festival, with premieres, screenings and discussions that celebrate contemporary cinema. It's become a key event for film lovers and creators alike.

2. What I love about Thessaloniki is how quickly you can connect with people. Ten minutes for a quick coffee at Proxenou Koromila to meet a friend, then a walk by the sea, and somehow the day already feels full.

3. I’m very much a summer person, and one of my favorite spots is the rooftop of the ON Residence hotel (5 Nikis), with the city stretched out below. In winter, if there isn’t a good play to catch, I usually head to Le Cercle de Salonique (7 Vasileos Irakleiou)

4. It’s hard to choose just one. I go to Tom Dixon (6 Chrisostomou Smirnis) for the interiors; it’s a place where design becomes part of the experience. Local (17 Palaion Patron Germanou) is my go-to spot with friends, where a coffee easily turns into drinks.

5. Sundays often start with brunch at the Hyatt Regency; it’s my little weekend indulgence. Refined flavors, great coffee and an easy, relaxed atmosphere.

GEORGE DORAS

Founder of Le Cercle de Salonique @georgedoras

1. Cultural destination

2. Only in Thessaloniki

3. Night out

4. Favοrite coffee place

5. Sunday ritual

1. The city’s multicultural past is still visible as you walk through it. The Roman Agora feels like an open-air museum, but even more exciting are the small galleries and artist-run spaces such as Volume R Concept Space (24 Paparigopoulou) and French Fries – French Kisses (12 Pavlou Mela).

2. Even on a bad day, Thessaloniki’s sunset can lift your mood. After seven years here, I still catch myself taking photos of it. It’s the only city where I never get tired of watching the sun sink into the sea.

3 Thessaloniki’s nightlife never disappoints; there’s something special for every taste. Folki (5 Stratigou Makriyianni) is a unique little wine bar full of thoughtful details and youthful energy. For aperitivo lovers, Giulietta Spritzeria (33 Palaion Patron Germanou) serves superior spritzes.

4. A coffee spot I appreciate for its quality and for a minimalist vibe that reminds me of Japan is Hue (38 Filippou), with its own in-house roastery. When I need a little city break, I go to Estet Café (78 Olympou) for a coffee and their signature cheese sandwich with homemade coffee-sriracha sauce.

5. Sunday is my breakfast-in-bed day, usually with a classic Greek breakfast from Paradosiako (27 Aristotelous), a Thessaloniki staple for over 25 years, but I will leave the house for dessert at the Pink Dot Café at Apollonia Center.

84, Georgikis Scholis Av., 57001, Pylaia Thessaloniki - Tel: +30 2310

KONSTANTINOS MATHEAS

Architect

@kmatheas

1. Every stroll through Thessaloniki feels like a privilege, and you don’t need a map. There’s something magical about wandering around the center. A simple walk from Ano Poli down to the sea is enough to feel the city’s grandeur as you drift through time and soak up its stories and secrets.

2. Υou can wake up and go for a morning walk or run along the New Waterfront, a project that’s transformed the city, and watch the sun reflect off the anchored ships and port cranes against the majestic backdrop of Mt Olympus, once home to the gods of ancient Greece.

3. Thessaloniki’s nightlife caters to every taste and I’ve recently become fascinated by the historic Vardaris neighborhood. The triangle formed by Aghiou Dimitriou, Karaoli & Dimitriou ton Kyprion and Lagkada streets is now dotted with new bars and eateries.

4. Pelosof (22 Tsimiski) stands out among Thessaloniki’s coffee destinations. Located in the inner courtyard of a historic downtown building, it has added contemporary design elements to the original grandeur of the building.

5. Instead of settling in a café or heading out for brunch, I grab a koulouri or bougatsa and make my way to Pier 1 at the port. There, I sit with friends on the dock, as gentle sea breezes sweep across the Thermaic Gulf. It’s a simple ritual, but it captures the city’s unhurried weekend pace.

5.

1.

Cultural destination

2.

Only in Thessaloniki

3.

Night out

4.

Favοrite coffee place

Sunday ritual

SYNTHIA SAPIKA

Journalist, General Director ERT3 @synthiasapika

1. At the Venizelou metro station, you’ll see remains of the Decumanus Maximus, the east-west Roman road, and hear echoes of the city’s ancient commercial splendor. The Kostakis Collection at Moni Lazariston (21 Kolokotroni), a priceless art legacy, is just a part of the MOMus museum network.

2. Take a boat ride and see the city from the sea. As the poet says, “Only from the water should Thessaloniki be seen; never dare to look at her from the land.” Back on land, wonderful will lead you to the Trigonion Tower and the Yedi Kule.

3. I love concerts at Mylos (56 Georgiou Andreou) with international bands, small theatres staging independent productions, intimate live gigs in bars scattered throughout the center, and having drinks with my friends at hangouts such as Souel (16 Pavlou Mela).

4. Unfortunately, I no longer have the luxury of lingering over coffee for hours. Ιf there is one place to mention, however, it’s the city’s oldest café-bar, De Facto (19 Pavlou Mela), the place where I spent my teenage years.

5. My mother says that if you want to know a city, you should visit its cemeteries. Zeitenlik, an Allied military cemetery and WWI memorial park, is the largest military cemetery in Greece.

CITY SCENES

THESSALONIKI CAUGHT ON CAMERA

BY PANTELIS TSOMPANIS | PHOTOS: PERIKLES MERAKOS

A MAGICAL MEETING POINT

Every evening, as the sun sinks below the horizon, Pier A at Thessaloniki’s port comes alive. The pier, whose former warehouses now serve as Thessaloniki International Film Festival venues, has become a beacon for residents seeking a touch of cinematic magic in their own lives. They often find it here, too, thanks to the waterfront’s unique atmosphere and ever-changing light.

IN THE LIGHT OF DUSK

As twilight falls, the park near the YMCA takes on a new glow. Mount Olympus seems almost within reach as shadows grow longer and the lights along the seafront begin to sparkle. The statue of Alexander the Great, framed in part by a row of shields and Macedonian long spears, has stood here proudly since 1974. Today, with skateboarders gliding across the marble that surrounds it, the statue and the scene form a reminder of the city’s timeless balance between past and present.

URBAN BALANCE

Every day, joggers and walkers fill the promenade of the New Waterfront, exercising or strolling along its six kilometers. Since its completion in 2013, Thessaloniki’s residents have taken pride in this landmark urban redevelopment, where a swath of greenery skirts the sea, creating a harmonious space in which to relax, stay fit or simply connect with the city’s coastal rhythm.

HIGH EXPECTATIONS

From major infrastructure projects to a renewed cultural landscape, Thessaloniki is asserting itself as a dynamic metropolis at the heart of the Balkans.

BY JOHN PAPADIMITRIOU

© OLGA DEIKOU

by

A work

Lyubov Popova, from the Costakis Collection, now housed at the MOMus- Museum of Modern Art . Left: Work has begun on expanding the Old Waterfront.

Construction is already underway on the city’s Flyover project.

AANYONE DRIVING ALONG

Thessaloniki’s ring road these days can witness first-hand the impressive progress of the Flyover project, a new elevated expressway that will double the capacity of the city’s main traffic artery. Scheduled for completion by May 2027, the Flyover is designed to handle up to 10,000 vehicles per hour and is expected to significantly ease congestion in and around the city.

For now, however, traffic woes persist, especially during the morning rush. But at least drivers won’t be waiting decades, as they did for the city’s long-anticipated metro system, which is finally delivering results. Almost a year after the inauguration of the main metro line, Thessaloniki is finally beginning to reap the benefits of this long-awaited project.

The numbers speak for themselves: in its first ten months of operation, the Thessaloniki Metro recorded 22 million validated tickets, proving that many residents are already using it daily, reducing car traffic across the city. The metro isn’t just easing traffic; it’s revitalizing entire neighborhoods. Along Delfon Avenue, east of the city center, three new stations – Efkleidis, Fleming, and Analipsi – have sparked renewed activity, and property values there have soared in response.

According to Bank of Greece data, apartment prices in Thessaloniki rose by an average of 7.3% in the second quarter of 2025 compared to the same period in 2024, outpacing even Athens, where property values increased by 5.9% over the same time frame.

THE NUMBERS SPEAK FOR THEMSELVES: IN ITS FIRST TEN MONTHS OF OPERATION, THE THESSALONIKI METRO RECORDED 22 MILLION VALIDATED TICKETS.

The forthcoming metro extension to Kalamaria, with five new stations expected to open by late March 2026, is also energizing the city’s eastern side. Meanwhile, despite the lingering presence of “For Rent” signs on central streets such as Tsimiski and Mitropoleos, Thessaloniki’s urban core appears to be experiencing a revival. New retail chains are opening, new hotels are joining the city’s hospitality scene – among them the recently launched NYX and a new five-star Electra Group property under construction near the YMCA – and new commercial pockets are emerging. Egnatia Street, which for two decades was hidden behind metal sheets and construction dust from the metro works, is thriving again. Around the Church of the Acheiropoietos, near the Aghia Sofia and Venizelou stations, a lively new food and café scene has also sprung up.

Projects Everywhere

Beyond the metro, Thessaloniki’s resurgence is also being driven by a series of smaller-scale projects that promise to make the city more beautiful and boost its economic growth even further. Eleftherias Square is set to be transformed into a Memorial Park honoring the victims of the Holocaust, and the redevelopment of the Aristotelous Axis is awaiting final approval. Major changes are also in store for Thessaloniki’s seafront.Work is progressing on the creation of an additional deck along the old promenade on Nikis Avenue. The

Consistency. Is an Estate of Mind.

quay stretching from the White Tower to the port will resemble a “ship” moored along the old waterfront: a boardwalk extending 12 meters over the water and stretching 1.1 km in length. The project includes a new bicycle lane and a tactile path for the visually impaired. Once completed, it will allow residents and visitors to enjoy their stroll along the city’s historic waterfront without the current congestion of pedestrians, cyclists and scooters sharing a narrow strip of land.

If the famous work “Umbrellas” by sculptor George Zongolopoulos is on your list of Thessaloniki must-sees, you might be disappointed to find it missing – for now. The 13-meter-high, stainless steel sculpture, one of the city’s most iconic and most photographed landmarks, has been taken to Athens for restoration. Originally installed on the New Waterfront in 1997, when Thessaloniki was the European Capital of Culture, the work has endured harsh winds as well as the weight of countless love locks that couples used to hang from its rods – a romantic habit that had to be stopped to preserve the sculpture.

Just west of that spot, another major infrastructure project is advancing along the seafront: the redevelopment of Thessaloniki’s commercial port, a €180 million investment that includes the expansion of Pier 6. Once completed, the port will be able to accommodate the largest mainline container ships, significantly enhancing its competitiveness in the global market.

Plans are also in motion to pedestrianize the southern section of Aghia Sofia Street, which will make that central area more welcoming to walkers.

A New Cultural Landmark

Alongside Thessaloniki’s urban transformation, the past three years have also brought a remarkable cultural awakening. The Thessaloniki International Film Festival continues

THE NUMBERS SPEAK FOR THEMSELVES: IN ITS FIRST TEN MONTHS OF OPERATION, THE THESSALONIKI METRO RECORDED 22 MILLION VALIDATED TICKETS.

The artwork “Umbrellas” by sculptor George Zongolopoulos, an iconic presence on the New Waterfront, has been removed temporarily for conservation work.

to shine as the city’s flagship event, drawing audiences and artists from around the world. Also on the city’s annual calendar is the Dimitria Festival, Thessaloniki’s oldest cultural event. With international collaborations –such as this year’s partnership with composer Goran Bregović – and bold performances such as last year’s Tiger Lillies concert at the Olympion, the festival is once again drawing crowds from across Macedonia and the Balkans.

The most significant recent development, however, came in mid-October, when Minister of Culture Lina Mendoni announced a major cultural milestone: the Kostakis Collection, a treasure trove of 1,275 works of Russian Avant-Garde art, some of which are currently displayed at MOMus–Museum of Modern Art, will soon be permanently housed in the historic S2 building of the former FIX brewery complex. The venue will also host the State Orchestra of Thessaloniki.

“The permanent exhibition of the Kostakis Collection will help transform Thessaloniki into a cultural destination of international importance, as the Russian Avant-Garde is one of the most influential artistic movements of the 20th century,” says Epaminondas Christofilopoulos, president of MOMus.

At long last, Thessaloniki seems ready to make the most of its cultural legacy; hopefully, it will continue to do so. After all, it takes more than infrastructure to make a city bloom.•

Top: The old FIX brewery is set to become a museum space for the Costakis Collection. Below: Aristotelous Square, the central hub of the city, is undergoing renovations.

MonAsty Hotel Thessaloniki Autograph Collection

Where City Living Meets Serenity

FOR TODAY’S TRAVELER , a hotel is more than comfort and design –it’s about character and a sense of story, too. In Thessaloniki, few places capture that balance as gracefully as MonAsty, Autograph Collection.

Nestled in the vibrant heart of the city, where Byzantine echoes meet contemporary rhythms, MonAsty stands as a sanctuary of quiet elegance and urban energy. Its name – “Mon” for monastery, “Asty” for city –reflects the dialogue between heritage and modern sophistication.

Each room and suite feels like a personal retreat, with bespoke furnishings, textured materials and subtle references to Byzantine silk weaving. Culinary experiences further the narrative: Botargo Restaurant celebrates Mediterranean flavors with understated finesse, while Samite Gastro Bar reimagines Byzantine-inspired tastes through a modern lens. Above it all, the Ennea Rooftop Bar offers panoramic views of the Thermaic Gulf, with crafted cocktails and curated DJ sets in perfect harmony with the city’s nocturnal pulse.

Managed by SWOT Hospitality, MonAsty delivers an experience of authenticity and refined ease; an invitation to discover Thessaloniki’s layered spirit, where history, art and contemporary life blend seamlessly. n

• www.monastyhotel.com

• 45 Vasileos Irakleiou, Thessaloniki

@monasty.hotel

@MonAstyThessaloniki

Alexandra Goulaki -Voutyra

Director, Teloglion Foundation of Art, Aristotle University of Thessaloniki

“FOR ME, THE CITY is Dinos Christianopoulos’s short stories. I had read them when I was younger, but now, through the exhibition ‘Techni – Diagonios and the Museum That Never Came to Be’ I returned to them with the maturity to truly understand what he was talking about.”

Christianopoulos (1931-2020) was one of Thessaloniki’s most distinctive literary figures – a writer of poetry and prose, and the founder of Diagonios, the legendary postwar magazine and cultural circle that nurtured an entire generation of northern Greek artists and intellectuals. Alongside Techni, the city’s pioneering art association founded in the 1950s to promote contemporary Greek art, Diagonios helped shape Thessaloniki’s modern cultural identity.

Voutyra remembers the 1970s, when these two institutions defined the intellectual life of the city. “Every Tuesday there was a lecture at Techni, in a small hall on Komninon Street. Afterwards we’d go to Diagonios, in the arcade between Mitropoleos and Tsimiski. There you were welcomed by Christianopoulos himself, standing before portraits of Cavafy and Tsitsanis, and he would personally guide you around, eager to introduce you to the city’s future, its young artists.”

The exhibition “Techni – Diagonios and the Museum That Never Came to Be," at the Teloglion Foundation of Art in Thessaloniki until February 10, 2026, celebrates the foundation’s 25th anniversary and revisits that vibrant era when the city’s cultural scene was being redefined through dialogue, experimentation and friendship. Voutyra believes Thessaloniki has always had this spirit because it is, above all, a city of youth. “You see young people in the streets, sometimes joyful, sometimes angry, and you know that they are the source of its rhythm and its energy.”

For her, Thessaloniki is also the music of Aimilios Riadis, which she first encountered as a student at the State Conservatory, as well as long walks along the seafront and through Ano Poli.

“Thessaloniki is a city made for walking – from monument to monument, from its Byzantine churches to its archaeological sites and museums. But with scarce parking, crowded pavements and constant noise, visitors are often deprived of the simple pleasure of exploring it on foot.” She acknowledges, however, that the city has improved greatly in recent years. “The entire waterfront has been redesigned with new thematic parks, and Ano Poli, too, has become more accessible. The city’s markets have been beautifully restored. Yet progress must go hand in hand with balance; I sometimes fear that authenticity is slipping away.”

She closes our conversation with an image that, for her, captures Thessaloniki’s enduring allure: “The city has been portrayed countless times in Greek art, in every style and medium, yet the subject is always the same. Ιts sunset.”

Cultural leaders reflect on Thessaloniki’s layers of history, art, memory and change.

Four Voices, One City

BY XENIA GEORGIADOU

PHOTOS: PERIKLES MERAKOS

FOR THOULI MISIRLOGLOU, the small 14th-century Byzantine Church of Agios Nikolaos Orphanos, perched on the edge of Ano Poli, remains a personal refuge. “Its exquisite frescoes and the lovely garden with its orange trees help you shut out the city’s noise and gather your thoughts.”

When asked to choose works that capture Thessaloniki, she pauses. There are, she says, easy and obvious ways to answer – but the city’s memory runs deep, layered with stories that can’t simply be left out.

If Thessaloniki were a film, she says, it would be “Salonika, Nest of Spies” (1936) by Wilhelm Pabst. “For some reason, it still feels like a compelling reference – though it isn’t really about Thessaloniki, it captures a fragment of its character, seen from a slightly off-center angle.”

If the city could be revealed through the pages of a book, her choice would be “Salonika: City of Ghosts” by the British historian Mark Mazower. “Mainly because it prompted us to look at major parts of our own history, such as the Holocaust and the story of the city’s Jews, through the prism of trauma.”

And if Thessaloniki could be translated into color, it would have been painted by the self-taught artist Nikos-Gabriel Pentzikis. “Because his subjects reflected the many layers and meeting points that compose the city.”

She believes Thessaloniki is changing – not only in terms of infrastructure, but also in its intentions and self-image. What could truly support this transformation, she says, would be for people capable of formulating a shared vision to sit together and shape a coordinated plan for how to make the best use of the city’s potential.

“There should be a clear calendar of Thessaloniki’s major cultural events,” she adds. “It would help both residents and visitors plan what they want to see – rather than discovering things by chance at the moment they happen.”

Thouli

Misirloglou

Artistic Director, MOMus – Museum of Contemporary Art

RAISED IN THE LEAFY suburban village of Filiro overlooking Thessaloniki, Simos Papanas believes that all you need to grasp the city’s long and often contradictory history is to walk through it. “Even if you know nothing about it, history will find you on every street. In the center, among postwar modernist apartment blocks, you come across Roman ruins, Bauhaus details, Art Nouveau façades, Byzantine churches and eclectic buildings – testimonies to the city’s many layers of influence. In Ano Poli, you’ll meet its Balkan soul and the legendary walls built by Emperor Theodosius the Great as an act of repentance for the massacre of Thessalonians in the Hippodrome in AD 390.”

“Every step here,” Papanas says, “carries a historical weight that can transport you, without warning, from past to present, from East to West.”

His favorite spot is the Byzantine Bath in Ano Poli, known as the Koule Hamam. “This bathhouse, part of a tradition from the Roman era that survived through Ottoman times, bridges different periods of the city’s history.”

If Thessaloniki were a song, it would be “Jasmines and Minarets” (“Giasemia kai Minaredes”) by Aimilios Riadis, the Thessaloniki-born composer (1880-1935) often described as the “Schubert of Greece.”

If Papanas could change one thing, it would be the way his fellow citizens treat public space. “Because of my work, I travel constantly, and nowhere else is graffiti so out of control. Here it’s no longer about creativity but about the idea that anyone can grab a can of paint and scribble whatever they like, wherever they like.”

Another welcome change is already underway; Papanas is looking forward to the day when the State Orchestra will finally have a permanent home, sharing space with the Kostakis Collection in the historic former FIX brewery complex, now undergoing renovation.

Simos Papanas

Director, State Orchestra of Thessaloniki

“THESSALONIKI IS the image that unfolds before your eyes as you approach the shore from the sea. If you set off in a small boat from Karabournaki toward the city center, the splendor of the city reveals itself: the walls, Ano Poli and the Eptapyrgio.”

Having grown up in Patras, she is well acquainted with open seascapes, yet what she finds unique about Thessaloniki is the way the city seems to rise above the water, built in layers that connect land and sea.

She finds it difficult to name a single place that inspires or calms her, yet she speaks with genuine passion about an orchestra. “I feel uplifted every time I attend a concert by the State Orchestra of Thessaloniki, whether at the Concert Hall, in the Ceremonial Hall of the Aristotle University, or in the foyer of the Archaeological Museum, where once a month they perform chamber music.”

Thessaloniki is known for its unhurried pace, yet she would like to see a little more momentum. “If I could change one thing, it would be the pace at which things move forward,” she says. She would also love to see the museum’s surroundings upgraded. “Ideally, I would want an extension to display more of our collection’s unique finds, which are now confined to a very limited space.”

The object that best symbolizes Thessaloniki for her is a marble base inscription preserved in the Archaeological Museum. It’s part of a pedestal bearing statues of Philip II’s family, dating to the 2nd century AD. The inscription reads: “Thessalonike, daughter of Philip, Queen.”

“I associate it with the city because it bears the name of the woman from whom the city itself took its own.”

Thessalonike, daughter of Philip II and the Thessalian Nicesipolis of Pherae, and half-sister of Alexander the Great, married Cassander, the founder of the city, who named it after her.

The inscription is displayed in the gallery dedicated to the city’s Roman past. “For me, it’s the most profound link between Thessaloniki and its history; a tribute to its queen, about whom we know so little.”

Anastasia Gadolou

Director General, Archaeological Museum of Thessaloniki

A Stroll Through Seventeen Centuries

The YMCA Mansion as seen from the direction of the Thessaloniki International Trade Fair.

Thessaloniki is an architectural palimpsest, where every corner reveals the layers of eras, faiths and ideas that shaped it. This short walk takes in eleven buildings whose magnificent architectural elements testify to a city’s grandeur across the ages.

BY TASOS PAPADOPOULOS, ARCHAEOLOGIST

PHOTOS: PERIKLES MERAKOS

1

THE ROTUNDA

Early 4th c. AD, 5 Aghiou Georgiou Square

FEW MONUMENTS BUILT 1,700 years ago still retain their original roof. What’s more, for the Rotunda in Thessaloniki, that roof is no ordinary structure; it’s a monumental crowning dome twenty-five meters wide. Yet it is not its architectural splendor, nor even its archaeological significance that is the most important aspect of the Rotunda. It has a deeper symbolic worth as one of the very few buildings to have served three of humanity’s great faiths: the ancient GrecoRoman pantheon, Christianity, and Islam.

The monument was commissioned by the Roman Emperor Galerius in the early 4th century AD as the crowning element of an ambitious architectural complex that also included a hippodrome, an octagonal throne hall, a Roman basilica, baths and, of course, the triumphal Arch of Galerius (Kamara), where the emperor is shown victorious over the Persians in distant Mesopotamia. Long thought to have been intended as Galerius’ mausoleum, the Rotunda is now believed by most scholars to have been built as a temple, perhaps dedicated to Zeus, Ares or perhaps all the gods of Olympus, much like the Pantheon in Rome.

A few decades later, at the end of the 4th or the beginning of the 5th century AD, the Roman Rotunda was converted into a Christian church and remained one for over a thousand years. Christianity was spreading throughout the Roman Empire, and ancient beliefs were slowly but steadily disappearing. The Rotunda’s magnificent mosaics, true masterpieces of early Byzantine art, date from this early Christian phase.

In 1591, when Thessaloniki was part of the Ottoman Empire, the Rotunda was transformed once again, this time into a mosque. Even today, a tall, slender minaret – the only one to have survived in the city – rises beside the original Roman building. The Rotunda stands as the living imprint of Thessaloniki’s timeless soul.

2

THE CHURCH OF THE ACHEIROPOIETOS

Late 5th c. AD, 54-56 Aghias Sofias

IN THE HEART OF THE CITY beside the Aghia Sofia metro station stands the early Christian Church of the Acheiropoietos, the oldest church in Thessaloniki still in use today.

A three-aisled basilica built in the late 5th century AD, it has endured for more than fifteen centuries. Its evocative name, Acheiropoietos (“Not made by human hands”), recalls a miracle that occurred during the Byzantine era; according to tradition, an icon of the Virgin and Child changed form by itself. Because this transformation occurred without human intervention, the icon – and, by extension, the church – came to be known as Acheiropoietos.

Inside the church, a sense of serenity prevails. The marble floor, the graceful columns crowned with exquisitely carved early Christian capitals, the galleries and the abundance of light streaming through dozens of windows give the ancient sanctuary a warm feeling. In the north aisle, Roman mosaics survive from an earlier structure, possibly a bathhouse. Only fragments of the original decorations remain, including some mosaic work on the arches of the arcades, where the name of Andreas, Bishop of Thessaloniki, is still visible. In the south aisle, a rare fragment of a 13th-century fresco depicts the Forty Martyrs of Sebaste. When Thessaloniki fell to the Ottomans on March 29, 1430, Sultan Murad II, the city’s conqueror, converted the Church of the Acheiropoietos into a mosque. A succinct dedication, elegantly framed in a medallion, was carved onto the eighth column of the north aisle: “Sultan Murad Khan conquered Thessaloniki, year 833 of the Hegira.” After the city’s liberation in 1912, the church was once again used for Christian worship.

HAMZA BEY MOSQUE

Alkazar, 1467-1468, 49 Egnatia

EVERY CIVILIZATION

LEAVES its mark on the ever-changing fabric of cities. The Ottoman period in Thessaloniki lasted nearly five centuries and gifted Thessaloniki a number of significant monuments. The Hamza Bey Mosque, the oldest mosque in the city, was built between 1467 and 1468 by Hafsa Hatun in honor of her father, the Ottoman official Hamza Bey. According to historical accounts, Hamza Bey met a gruesome fate in Romania, executed in public by either Vlad III Țepeș – the historical figure who inspired the character of Count Dracula – or by Stephen III the Great.The impressive mosque dominates the junction of Egnatia and Venizelou streets. Its core, almost square in shape, is crowned by a majestic dome. It features a spacious courtyard with imposing columns, many of which were repurposed from earlier Christian or Roman monuments. Following the Greco-Turkish War and the subsequent population exchange between Greece and Turkey in 1923-1924, Thessaloniki’s Muslim inhabitants were forced to leave the city. The mosque soon fell into disuse; a few years later, it was converted into a cinema named “Alkazar,” a name still familiar to most Thessalonians today. In the 1980s and 1990s, the building suffered significant damage through unsympathetic renovations by private owners, who turned the interior into a series of shops selling imitation leather goods.

With the construction of the nearby Venizelou metro station, the mosque has been included in a restoration program. In the near future, it will reopen to the public as a cultural venue, reclaiming its rightful place as one of Thessaloniki’s architectural and historical landmarks.

SAUL MODIANO ARCADE

1881

17 Eleftheriou Venizelou

THE HISTORY OF THE MODIANO family is synonymous with the cosmopolitan spirit of old Thessaloniki. Arriving from Livorno, Tuscany, in the 18th century, the Modianos became part of the city’s large Sephardic Jewish community and soon left a lasting mark on Thessaloniki’s urban and social life. The family patriarch, Saul, rose from humble beginnings as a poor orphan to become one of the wealthiest men not only in Thessaloniki but in the entire Ottoman Empire. Among the architectural legacies left by the Modianos (including their family mansion, which now houses the Folklife and Ethnological Museum of Macedonia-Thrace, and the famous Modiano Market, recently restored at the junction of Ionos Dragoumi and Vasileos Irakleiou streets) is the remarkable Saul Modiano Arcade. Completed in 1881, it was a groundbreaking addition to the Ottoman city center. One of Thessaloniki’s first multipurpose commercial complexes, it combined shops, offices, and workshops, and even included a han, an early form of inn where merchants and tradesmen could stay overnight. It was fittingly named Cité Saul, and its passageways pulsed with the same energy that animated the commercial heart of the city. The great fire of 1917 severely damaged the building, which once occupied an entire city block, but a portion of the original facade survives along Vasileos Irakleiou Street, where visitors can still see exquisite neo-Renaissance architectural details: elegant Corinthian capitals, ornate balconies with fine balustrades, and a heraldic emblem bearing the intertwined initials “S” and “M,” the monogram of Saul Modiano.

THE IMMACULATE CONCEPTION CATHEDRAL

1900

19 Fragkon

THE LEVANTINES OF THESSALONIKI formed a distinctive community within the city’s old multicultural mosaic. Though relatively few, they played a significant role in the commercial, social, and cultural life of the great Balkan metropolis. Locally, they were referred to as Franks, a term broadly used to describe Western Europeans and, by extension, Roman Catholics. Among them were merchants, consuls, bankers, missionaries, doctors, and even a few adventurers.

Despite being subjects of various European states, they were united by their shared Catholic faith. The presence of an imposing church to serve their spiritual needs was essential to the prestige and cohesion of their community. In 1896, the renowned architect Vitaliano Poselli was commissioned to design Thessaloniki’s Catholic Cathedral. On the site of a smaller earlier chapel, Poselli built a grand basilica dedicated to the Immaculate Conception of the Virgin Mary.

According to local lore, when the final tile was placed on the roof, the Italian architect knelt in prayer and made the sign of the cross, thanking God that no worker had been injured or killed during construction. Even today, the three-aisled basilica on Fragkon Street impresses visitors with its exceptional acoustics and towering 40-meter-high bell tower. The flags of the Vatican fluttering in the courtyard welcome worshippers from around the world, while the same premises also house the offices of Thessaloniki’s Catholic community.

MALAKOPI ARCADE

1907

7 Syngrou

ON HISTORIC Stock Exchange Square – today a lively hub of with bars, restaurants, shops and constant foot traffic – one building continues to command attention. Known today as the Malakopi Arcade, it was originally constructed in 1907 to house the headquarters of the Banque de Salonique, a powerful financial institution owned by the influential Allatini family.

The Allatinis, from Livorno, were in a sense the rivals of the Modiano family. Their industrial and social reach was vast; by 1900, their flour mills employed more than two hundred workers, and their grand villa in Thessaloniki famously hosted Sultan Abdul Hamid II, who lived there in exile for three years after being deposed by the Young Turks.

At the dawn of the 20th century, the Allatinis commissioned celebrated architect Vitaliano Poselli to design a new building that would house their bank. The result was a two-story rectangular structure with a Baroque-style curved pediment, organized around a central square atrium covered by a glass roof that allowed natural light to flood into the interior. Remarkably, the original vault of the Banque de Salonique still survives in the basement of what is now a commercial arcade.

On the building’s façade, an ornate circular clock indicates 11:07. It was at that moment on the night of June 20, 1978, when a powerful 6.5-magnitude earthquake shook Thessaloniki. The stopped clock stands today as a silent, melancholy memorial to that night.

THE BOSPORION MANSION

8 Aristotelous

IN 1917, THESSALONIKI reached its all-time peak in population. To its residents were added hundreds of thousands of soldiers from the Entente forces, stationed in the region to fight – and perhaps die – on the Macedonian Front. Amid the turmoil of WWI, the city was struck by a devastating fire. Paradoxically, the blaze was not caused by a munitions explosion, bombardment, or other act of war, but – according to legend – by the carelessness of two Greek women frying eggplants, who inadvertently set much of the city ablaze.

The government of Eleftherios Venizelos reacted swiftly, appointing a committee of experts to redesign the burnt city. At its head was the French architect, urban planner and archaeologist Ernest Hebrard, who drafted an ambitious reconstruction plan. Though never fully realized, his plan gave Thessaloniki its most beautiful public space: Aristotelous Square. The square is distinguished by its unified architectural vision, as all buildings were required to conform to Hébrard’s design principles.

Among them stands the Bosporion Mansion, at number 8 Aristotelous. This twin four-story building was constructed as a residential property along the city’s new central axis. It’s notable for its Neo-Byzantine features, particularly the six biforate (or twin-arched) openings on the top floor that form elegant balconies. Another distinctive feature is its magnificent Art Nouveau entrance on the ground floor, one of the very few surviving examples in Thessaloniki. The Bosporion Mansion remains a vibrant fragment of the city’s past and one of the enduring jewels of Aristotelous Square.

THE ERGAS MANSION

1925

19 Dionysiou Solomou & 41 Eleftheriou Venizelou

IT WOULD FIT in as easily in Paris or Vienna, yet the Ergas Mansion stands in the heart of Thessaloniki, drawing the gaze of even of the most indifferent passerby. Built in 1925 in the fire-ravaged zone of the city near the Ottoman Bezesteni and the Venizelou metro station, this six-story building was designed by two prominent interwar architects, S. Mylonas and E. Kotzambassoulis.

The construction of such grand edifices became common in Thessaloniki during the 1920s and 1930s, reflecting a broader urban trend to combine ground-floor retail spaces with offices on the lower levels and luxury apartments above. What sets the Ergas Mansion apart is its curved corner, crowned by an impressive dome punctuated with elegant circular skylights. The dome resembles a vast observatory overlooking the bustling streets and shops below, while the building’s eclectic decorative features lend it both grace and harmony.

The mansion was commissioned by the affluent Sephardic Jewish family of Alberto and Allegra Ergas. On the upper floor, within an oval medallion framed by ornate plaster garlands, one can still read the family’s name. Another subtle tribute survives at the main entrance on Dionysiou Solomou Street: the intertwined letters A and E – the initials of the original owners – can be seen on the wroughtiron door, silent relics of a cosmopolitan world long vanished.

9

THE MASONIC MANSION 1932

44 Filikis Etaireias

FOR MANY, FREEMASONRY is shrouded in mystery; for others, it represents a romantic remnant of the past. Whatever one’s view, it is a fact that Thessaloniki during the Belle Epoque was home to several Masonic lodges whose members included many prominent figures of local society. Today, the city’s impressive Masonic Mansion, constructed in 1932 by architects G. Manousos and S. Mylonas, still stands proudly on Filikis Etaireias Street.

The structure displays bold Art Deco influences and features various inventive elements, such as the vertical openings that frame its skylights, allowing abundant natural light to flood the interior. Few know that the entire Makedonikon Cinema, with its later modernist façade, was one of the mansion’s grand halls before being rented out as a movie theater.

Inside, a powerful sculpture by an unknown artist depicts the three stages of Masonic initiation through three male figures: the young Apprentice, the mature Fellow, and the elderly Master. The high-ceilinged halls, embossed symbols, carved wooden doors and ceremonial chamber all reflect the dignity and prestige of the lodge.

During the Nazi occupation, the building was requisitioned and the invaders destroyed or looted much of its prized library and other valuable treasures. Despite these losses, the Masonic Mansion endures as a living monument of Thessaloniki’s history and architecture, and a reminder of the city’s lesser known mysteries.

10

THE YMCA MANSION 1934

1 Nikolaou Germanou

IN 1924, THE FOUNDATION stone for one of Thessaloniki’s most iconic buildings was laid. Ten years later, the YMCA Mansion opened its doors to welcome hundreds of young men and women eager to engage in athletic and intellectual pursuits. Designed by architect Marinos Delladetsimas, the building consists of two three-story wings connected by an open circular balcony, crowned by an impressive dome that dominates the skyline and draws the eye. The influence of Ernest Hebrard’s vision for Aristotelous Square is unmistakable, and the Neo-Byzantine touches bring to mind the city’s rich medieval heritage.

Thessaloniki’s long and proud basketball tradition owes much to the YMCA, whose members first introduced the sport to the city. Within this very building was Thessaloniki’s first indoor basketball court, and even today it houses the only heated swimming pool in the city center. Generations of Thessalonians have trained in its pioneering facilities, gaining not only physical strength but also the values of fair play and discipline.

Today, the YMCA Mansion remains a vibrant institution: it hosts a wide range of athletic programs, maintains an excellent library and serves as a venue for exhibitions, concerts and other cultural events. Still open to all, it continues to inspire, true to its long legacy.

THE OTE TOWER

1970

154 Egnatia

THE THESSALONIKI International Fair (TIF) was launched in 1926 with the mission of ushering in a “new era,” showcasing modern technologies and scientific innovations, and creating opportunities for commercial exchange between Greek and international entrepreneurs. After the Second World War, the need for technological modernization became even greater, leading to the construction of new modernist pavilions and buildings within the fairgrounds. The most emblematic of these – and still a defining feature of Thessaloniki’s skyline – is the OTE Tower.

Construction began in 1966 and was completed in 1970. Designed by architect Alexandros Anastasiadis, the tower was a bold experiment in the use of reinforced concrete, resulting in a fusion of function and futuristic design. It was named after the Hellenic Telecommunications Organization (OTE), to which it was leased.

Visitors can ascend its 166 steps or take the elevator to reach the tower’s restaurant and bar, which offer spectacular views over the city and the sea. The restaurant floor slowly rotates, completing a full 360° turn every hour and providing an ever-changing panoramic vista of Thessaloniki.

The OTE Tower also played a pioneering role in the history of Greek broadcasting; some of the very first Greek television programs were transmitted from here, introducing Thessaloniki’s residents tο the “small screen” in the early 1970s. Today, it remains both a technological landmark and a beloved symbol of the city’s modern identity.

THE LADIES OF AIGAI

Behind every great Macedonian king ...

BY JOHN LEONARD

The mysterious pre-Temenid "queens" of Aigai reveal that wealth and power were already a fact of life in what would become the heartland of Philip II's Macedonia.

GREECE

IIF YOU HAVEN’T been to the new museum at Aigai (modern Vergina) yet, you should put it immediately on your list of must-see Greek historical destinations. Northern Greece, and particularly the Veria area southwest of Thessaloniki that represents the heartland of ancient Macedonia, is a treasure trove of archaeological sites, lush landscapes and fascinating history, featuring most prominently the Temenid (or Argead) royal dynasty and its unforgettable kings Philip II and his son Alexander the Great. But what of the ladies or queens of ancient Macedonia?

One of the most intriguing, perhaps little-considered historical revelations highlighted by the new Polycentric Museum is the presence at Aigai of clearly high-status women richly adorned with once-gleaming bronze jewelry who are presented as “Queens of Macedonia” – and who date from the early Iron Age (10th through 8th centuries BC) – an era beginning hundreds of years before the appearance of the Macedonian Temenids (about 700 BC). The exact identity or role of these ladies remains a mystery, but what they can tell us is that the splendid metals-rich culture we identify with Philip II and his empire was already a characteristic of this northern Greek region long before Philip was even a twinkle in his mother Eurydice’s eye.

Who were the ancient Macedonians?

In the 5th century BC, Herodotus and Thucydides wrote that the

inhabitants of Macedonia were descendants of Temenus, the legendary king of Argos. Their primogenitor in northern Greece was Perdiccas I, who left Argos about 700 BC, eventually establishing himself and his people “near the Gardens of Midas … in the shadow of the mountain called Vermio” – not far from the confluence of the Aliakmon and Lydias (now Loudias) rivers and present-day Veria. These were the “Macedonians,” whose name – likely deriving from “makros” in ancient Greek – meant “the highlanders” or “the tall ones.” They were hard-living mountain folk, mainly shepherds and farmers, whose elite leaders apparently based themselves at an already long-inhabited spot near a major crossroads known as Aigai, or The Place of the Goats (or Many Flocks).

Thanks to the archaeologists who have explored Aigai, led most notably in recent decades by now-retired ephor Angeliki Kottaridi, recognized today as one of the great “ladies of Aigai,” a vast necropolis of roughly 200 hectares dotted with hundreds of distinctive burial tumuli has been investigated and found to contain thousands of graves. Its southern, eastern and west/ northwestern areas include Archaic and Classical tombs (6th-4th centuries BC), but at its core lies an even older

cemetery dating to the early Iron Age. It is from here that the Aigai museum’s magnificently attired “queens” have once again come into the light.

Metals, mercantilism and telltale bling

...A VAST NECROPOLIS... DOTTED WITH HUNDREDS OF DISTINCTIVE BURIAL TUMULI... AND THOUSANDS OF GRAVES. AT ITS CORE LIES AN... OLDER CEMETERY DATING TO THE EARLY IRON AGE.

From an ancient Athenian perspective, the North was a wild, largely uncivilized region ruled by an ambitious, imperially minded king, Philip II, who posed a threat to his southern neighbors. Nevertheless, this area of ancient Greece, especially eastern Macedonia and Thrace, was also known to be rich in metals – iron, copper for bronze, silver and gold – as well as timber for shipbuilding. Consequently, it became a target for colonization, as shown by Athenian efforts to establish themselves near Amphipolis in the 470s and 460s BC, and more permanently in 437 BC. Long before this Athenian push, however, the Euboeans in the 8th century BC had already installed numerous colonies, emporia and commercial ports in the northern Aegean and Thermaic Gulf region, attracted in great part by the lure of profitable trade in metals, wood and wine. The early exploitation of northern Greece by southern outsiders attests to its resources. The pre-Classical graves of the Aigai ladies confirm an obvious truth: this natural bounty had already existed and was being exploited in the early Iron Age.

Burgeoning Prosperity

The magnificent array of gold, silver and other luxury grave goods in Tomb II within the Great Tumulus at Aigai, purported to be the royal burial of Philip II, showcases the high level of material wealth that characterized the ancient Macedonian elite. This historic moment in the 330s BC, just before Philip was assassinated (336) and Alexander took up the imperial reins, was an apex of traditional Macedonian civilization, before the new young king changed that

Lavish funerary adornment continued from the Early Iron Age into the Classical era.

world radically, expanding Macedonianborne Hellenism into far-off Asian lands.

By the time of Philip II and Alexander III, the belief that the Macedonians were originally settlers from Argos, and thus descendants of not only royal Temenus but also the mythical hero Heracles, had become tradition. In fact, it seems they were Dorian Greeks, initially northern migrants who’d spread throughout mainland Greece and had already long resided in what later became the Macedonian heartland. Their rich and diverse culture in northern Greece remained little changed over the centuries – as indicated archaeologically – from the Late Bronze Age into the early Iron Age. The Macedonians’ traditionally-held Argive origin story may well reflect a real-life Dorian “return” to the north, as evidenced by the colonization efforts of Evia, or of Corinth at Potidaea (ca. 600 BC) in Halkidiki.

Eventually, change did come to Macedonia, with the rise of the Argead dynasty, especially under Philip II, as Alexander famously reminded his rebellious troops while campaigning in Asia: “He found you wandering about without resources, many of you clothed in sheepskins and pasturing small flocks in the mountains, defending them with difficulty against the Illyrians, Triballians and neighboring Thracians. He gave you cloaks to wear instead of sheepskins, brought you down from the mountains to the plains, and made you a match in war for the neighboring barbarians, owing your safety to your own bravery and no longer to reliance on your mountain strongholds. He made you city dwellers and civilized you with good laws and customs” (Arrian, Anabasis). Philip undeniably brought changes, with military innovations – such as the lengthy sarissa spear – and greater military effectiveness, his conquest of Thrace and other outlying neighboring regions, and his consequent bestowal of greater prosperity upon his people, but clearly wealth and power were already a characteristic of the “pre-Macedonian” Iron Age elite.

Macedonia’s great ladies

The early Iron Age ladies of Aigai were important, well-respected figures. Their personal attire and funerary accoutrements were strikingly lavish, especially compared with those of men, who were usually buried with only an occasional bronze ring or other small ornament and their iron weapons (sword, spearhead, arrowheads, or knife). Adorning the women’s heads were dangling triple-spiral bronze pendants and small golden spirals for the ends of the hair. Some wore cloth or leather diadems (now gone) with bronze buttons or other ornamentation. These noble ladies also wore carnelian bead necklaces, as well as bronze pendants, eight- or bow-shaped brooches, spiral bracelets, and rings. Their belts featured buckles, bosses and buttons. Beside them were placed tall wooden staffs capped with three double-axe heads.

Aigai’s extensive funerary evidence illuminates a complex, clan social structure necessary for effecting and controlling the exploitation and distribution of Iron Age Macedonia’s rich natural resources. The elite males were warrior kings and the females ornately clad, power-projecting queens.

Kottaridi suggests the ladies, with their double-axe staffs and other ritualistic objects, also served as priestesses.

Continuity in roles

During the ensuing Archaic and Classical eras, the Temenid ladies carried on these roles, as we see from the bronze “phialai” (libation bowls) ubiquitously placed in high-status female graves, and from the embossed silver phiale of the so-called “Lady of Aigai” – identified as the wife of King Amyntas I (ruled 512-497 BC), who received a magnificent burial about 495 BC. Her grave goods of gold, silver, bronze and ivory included a gilt-edged veil, pins, jewelry, scepter, distaff, spindle and golden-soled slippers.

Eurydice and Olympias

BY THE TIME OF PHILIP II AND ALEXANDER III, THE BELIEF THAT THE MACEDONIANS WERE ORIGINALLY FROM ARGOS, AND ... DESCENDANTS OF THE MYTHICAL HERO HERACLES, HAD BECOME TRADITION.

Two of the greatest ladies of Aigai were Eurydice I, wife of Amyntas III and mother of Philip II, and Olympias, Philip’s fourth wife and mother of Alexander. Royal succession was a crucial concern for Macedonian queens, and Eurydice, at no little personal danger and through extraordinary manipulation that even included recruiting an Athenian general supportive of her efforts, managed to ensure that her son Philip avoided murderous usurpers and became king (359 BC). Without her strength, Kottaridi reminds us, and that later of Olympias, who likely also worked behind the scenes to support Alexander, Macedonian history and Greece’s cultural impact on the ancient known world would certainly have turned out differently. Although little trace of Olympias has yet been found at Aigai, the Temenid necropolis excavations have revealed an elaborately decorated tomb with a monumental throne, discovered by Manolis Andronikos (1987), which has been attributed to Eurydice. Today, Queen Eurydice can be seen standing commandingly in one of the Aigai Museum’s courtyards, her sculpted image a votive offering to the goddess Eukleia made by the queen herself.•

Macedonia

Theme

Queen Eurydice I of Macedonia, whose courage and determination ultimately helped pave the way towards the Hellenistic world.

ECHOES OF BLOOD

From the fall of a monarch to the silencing of a voice for peace, the city has witnessed murders that changed the course of Greek history.

BY TASOS PAPADOPOULOS ILLUSTRATIONS: DIMITRIS TSOUMPLEKAS

The ghosts of King George I, George Polk and Grigoris Lambrakis still cast a shadow over the city.

Thessaloniki is famous for iconic landmarks such as the Rotunda, the Church of Aghios Dimitrios, and its sweeping seafront. It is equally beloved for its rich gastronomy, a blend of cultures and flavors that mirrors its long, layered history. Yet, beneath this luminous image lies another story – one written in blood. From the bullet that ended the life of King George I and the iron bar that struck down Grigoris Lambrakis to a certain bound body found floating in the Thermaic Gulf, Thessaloniki has often served as the stage for acts of political violence. These assassinations became turning points in the nation’s history, casting long shadows and creating legends – some still unresolved. We trace their echoes through the heart of a city that remembers more than it reveals.

ON OCTOBER 26, 1912, the feast day of Thessaloniki’s patron saint, Aghios Dimitrios, the Greek army marched triumphantly into the city. After nearly five centuries of Ottoman rule, Thessaloniki was finally part of the Greek state. A few days later, King George I arrived and took up residence, his presence a clear signal to the Great Powers – and to rival Balkan states – that the city was now irrevocably Greek.

Born in Denmark and a member of the House of Glücksburg, George had reigned since 1863 and was known as a prudent, steady monarch. Married to the Russian princess Olga, he had guided Greece through turbulent times. His stay in Thessaloniki was a momentous event: crowds gathered daily outside his villa in the Exoches district, hoping to catch a glimpse of the monarch.

Thessaloniki in 1912 was a very different place – a true mosaic of cultures and communities. The majority were Sephardic Jews, alongside Turkish Muslims, Greek Orthodox, and smaller groups of Slavs and Armenians.

On March 5 (18), 1913, after a formal visit to a German warship, the King set out on foot back to his residence. Security was strikingly lax for a city still unsettled by war. His only companion was his loyal aide-de-camp, Major Fragoudis, reportedly hard of hearing and leaning toward the King to catch his words rather than scanning their surroundings.

As they walked, they passed a man who looked like a beggar sitting on the curb. As the pair continued on, the stranger stood, drew a pistol from his coat, and shot the King in the back. Pandemonium followed. George collapsed instantly, and the gunman was seized moments later. To everyone’s shock, he was not a foreign agent but a Greek: Alexandros Schinas.

News of the assassination spread quickly, plunging the country into mourning and alarming diplomats across Europe. Schinas refused to speak to anyone except Queen Olga, the King’s widow, and died soon after – officially by leaping from a police-station window, though many believed he was thrown. His motives remain obscure.

The assassination of King George I marked the end of an era and the beginning of years of upheaval. Within months, Greece would be drawn into the First World War, and the path toward the Asia Minor Campaign and the national disaster that followed had already begun.

THE ASSASSINATION OF KING GEORGE I, 1913

THE 1940S WERE A DECADE of devastation for Greece. After repelling an Italian invasion in October 1940, the country fell under Nazi occupation from April 1941 until October 1944. And while the world celebrated the end of the Second World War, Greece descended into a bloody civil conflict between the National Army and the Democratic Army, the latter organized by the Greek Communist Party (KKE).

The Greek Civil War quickly drew international attention, widely viewed as the first battlefield of the emerging Cold War. Among the foreign correspondents who arrived in Greece was George Polk, a reporter for CBS News in New York. Born in Fort Worth, Texas, in 1913, Polk came from a once-wealthy family that lost its fortune after the 1929 crash, preventing him from completing the higher education he desired. Restless and adventurous, he traveled across the United States and beyond – to Alaska, the Philippines, China and Europe – before serving in the Pacific during World War II, where he was wounded in combat.

Journalism, however, remained his true passion. After the war, he was hired as a CBS correspondent in the Middle East and stationed in Cairo. In 1947, he was sent to Athens to cover the Greek Civil War. There, he met and married Rhea Kokkoni, a young Greek woman who became his second wife. Ambitious and daring, Polk devised an audacious plan: to locate the underground network that could lead him to the northern mountains of Greece, where Markos Vafiadis, commander of the Democratic Army, was hiding. Securing an interview with him, Polk believed, would be a career-defining scoop. Leaving Rhea in Athens, he traveled to Thessaloniki, the closest city to the rebel front.

Two days after his arrival, Polk vanished. A week later, on May 16, 1948, a fisherman discovered a body floating in the waters of the Thermaic Gulf. It was George Polk, bound hand and foot, with a gunshot wound to the back of the head. The shock was immediate and profound. At a time when the United States was providing massive aid to the Greek government under the Marshall Plan, the brutal murder of a respected American journalist caused outrage on both sides of the Atlantic.

Greek authorities, unable to identify the real perpetrators, soon yielded to pressure for results. Months later, in a move widely condemned as a cover-up, they produced a scapegoat: Grigoris Staktopoulos, a local journalist, who was convicted after a show trial.

The Polk case remains unsolved to this day. Yet George Polk’s name endures: each year, Long Island University honors his legacy by awarding the George Polk Awards, celebrating courage and integrity in journalism, the very values for which he gave his life.

THE MURDER OF JOURNALIST GEORGE POLK, 1948

THE YEARS FOLLOWING Greece’s devastating civil war were marked by deep political, social, and economic turmoil. The wounds of national division between “patriots” and “communists” had not yet healed, and the fragile postwar democracy was riddled with tension. The Communist Party of Greece (KKE) had been outlawed, and the United Democratic Left (EDA) served as the principal political expression of the Greek left between 1951 and 1967.

Grigoris Lambrakis was born in 1912 in a small village near ancient Tegea, in the Peloponnese. One of several children in a poor farming family, he showed exceptional talent in both athletics and academics from a young age. A record-breaking long jumper, he held the Greek national record for 23 years and competed in the 1936 Berlin Olympics. True to his independent spirit, Lambrakis sought out and posed for a photograph with Jesse Owens, the Black athlete whose victories infuriated Hitler and defied Nazi ideology.

After earning his medical degree, Lambrakis specialized in obstetrics and gynecology. He was known as a “people’s doctor,” devoting certain days each week to treating impoverished patients free of charge. In 1961, he was elected to parliament with the EDA during elections marred by violence and fraud. As a deputy, Lambrakis became an outspoken peace activist and humanitarian. A member of the Greek Committee for International Detente and Peace and inspired by the ideas of Bertrand Russell, he participated in anti-nuclear demonstrations in London and organized the first Marathon Peace March, which he completed alone after police banned it.

On the evening of May 22, 1963, Lambrakis was in Thessaloniki to speak at a public meeting organized by the Friends of Peace. The atmosphere was tense: right-wing paramilitary groups had infiltrated the crowd, intent on disrupting the event. After his speech, Lambrakis stepped outside to protest to the police, who had done nothing to protect the gathering. At that moment, a small three-wheeled vehicle approached. One man drove while another stood on the back. As the tricycle passed, the man on the platform struck Lambrakis on the head with an iron bar. The MP collapsed in the street, gravely injured.

A bystander, Manolis Hatziapostolou, chased down the attackers and managed to apprehend them. Lambrakis died four days later at AHEPA Hospital, becoming a martyr of the peace movement. His assassination inspired writer Vassilis Vassilikos to write the novel Z, later adapted into an award-winning film by Costa-Gavras.

The true masterminds behind Grigoris Lambrakis’s murder remain unknown to this day, yet his name endures as a symbol of moral courage and the struggle for peace and democracy in Greece.

THE ASSASSINATION OF MP GRIGORIS

The Gatekeepers of Thessaloniki Pylaia

ON THE CITY’S EASTERN EDGE LIES A COMMUNITY WHOSE HISTORY REACHES BACK TO BYZANTINE TIMES.

BY JOHN PAPADIMITRIOU

PHOTOS: KONSTANTINOS TSAKALIDIS

Coins form part of the traditional

by the

on formal occasions. Local women display what was once customary wear in their district.

Left:

necklace worn

women of Pylaia

Pylaia

OON THE EASTERN SIDE of Thessaloniki, past the district of Ηarilaou and stretching up to the ring road, lies a neighborhood whose story reaches deep into the centuries. Many of its residents even claim descent from the Byzantines. This is Pylaia, once known as Kapoutzida.

Around 1430, as Sultan Murad II prepared to capture Thessaloniki after a protracted siege that had begun in 1422, he encountered fierce resistance from a group of Byzantine soldiers defending the city’s eastern gate. Their bravery and determination impressed the Sultan, who sent them a personal message urging them to surrender. When they refused and continued to hold their ground, the Ottoman commander agreed to their own terms of capitulation. The gatekeepers – known in Turkish as kapoutzides, or “keepers of the gate” – were granted the right to continue guarding the gate and to retain the lands outside the city walls, southeast of Thessaloniki.

Their first settlement, Kapoutzida, was located in what is today the area of Triandria-Ano Toumba, the closest village to Thessaloniki from the east. According to local tradition, the community relocated to its present site at the end of the 18th century, after a plague of poisonous snakes made the original area uninhabitable.

Their fields, where they cultivated grains, sesame plants and vineyards, stretched from today’s American Farm School to the university campus. Their vegetable gardens were concentrated in the area of Kalamaria. The black wine of Kapoutzida, made from their own

vines, was once famous throughout the region. Over time, new settlers arrived from villages and towns in Halkidiki and Macedonia, including Kilkis; after 1922, refugees from Asia Minor made Pylaia their home, too. Gradually, farmland gave way to houses and, after 1990, as the district expanded, entirely new neighborhoods began to emerge, reshaping Pylaia into one of Thessaloniki’s most dynamic residential areas.

A Living Tradition

“During the Ottoman period there were no official street names; each neighborhood was known by the name of its Turkish landlord. That’s how locations were recorded in old property deeds. For example, our family had half an acre in the area known as Avli-Efendi,” explains Maria Tziaferi, a lifelong resident of Pylaia and president of the Women’s Cultural Association

of Pylaia Kapoutzida. I meet her at the association’s headquarters in their neighborhood, along with two other members, Anastasia Spyroudi and Ourania Mengisoglou-Spyroudi. Just as the original Kapoutzides once guarded Thessaloniki from its besiegers, the women of this association now fight to keep the town’s traditions alive.

Founded in 2007 by a small group of 21 people, the association today counts more than 600 members, all women. “We couldn’t quite get the men to agree with us, so we decided to take the lead ourselves,” Ourania says with a laugh. Anastasia adds: “Our goal is to preserve and promote Pylaia’s cultural heritage: its dances, dialect, customs and local traditions. Since no folklorist has ever systematically recorded them, we rely on the research of Alexandra Parafentidou and Fenia Tsouka-Fountoukidou.”

The bell tower of the Prophet Elias Church, erected in 1863.

Elaiorema Park in Pylaia provides city residents with a green escape.

As she speaks, I notice behind them a small wardrobe filled with traditional garb: the association’s modest costume collection. Beyond its archival work, the group also runs a folk dance troupe that participates in festivals and parades, a traditional music choir, and a variety of educational and community programs that keep the spirit of Pylaia alive and thriving.

A Dance in Time

“Traditional dances are a fascinating chapter in Pylaia’s folklore and history,” says Vicky Kanellou, former Deputy Mayor of Culture and a friend of the association, who joins our conversation. “Born during the difficult years of Ottoman rule, they, like folk songs, expressed every aspect of life, from birth to death, from friendship to marriage.”

“Our dances are mostly slow, circular and stately, with a distinctive local flair,” adds Maria Tziaferi. “There’s even a unique version of the syrtos called ‘Kato sta Alonia’ (‘Down at the Threshing Floor’), which is now taught in physical education academies.”

A little later, Anastasia brings out a sagias, the traditional women’s costume of Pylaia. Like most folk garments of the Balkan Peninsula, it has its roots in Byzantine tradition; the word “sagias” is derived from “sagion,” the war cloak worn by the ancient Gauls. “The last wedding in Pylaia where the bride wore a sagias took place in 1905,” Anastasia explains. “After that, attire gradually became more contemporary in style.” Today, authentic Pylaia costumes are preserved and exhibited in the Folklore Museums of Thessaloniki and Kalamata, as well as in the Benaki Museum in Athens.

Only a handful of the original garments remain, although a few seamstresses in Pylaia still make faithful reproductions. Smiling, Ourania interjects: “Don’t be fooled by how elegant these outfits look – back in the day, we city folk in Thessaloniki used to think of the people from Pylaia as villagers!” She laughs, recalling the image of Pylaia’s

farmers bringing grapes and vegetables into town on donkeys, and milkmen delivering fresh milk door to door.

Sights and Stories

For decades, before merging with the municipalities of Panorama and Hortiatis, Pylaia was a remote suburb with little to no transport connection to Thessaloniki.

Today, with a population of over 35,000 residents according to the latest census, Pylaia is fully integrated into Thessaloniki’s urban fabric, with only a few plots of land left for development. Besides the efforts by the local women’s association, however, little remains to tell the story of its rich past.

Our tour with the members of the association begins at the church of Prophet Elias, the patron saint of the area, whose courtyard houses a stone bell tower dating back to 1863. Around it, along the street of the same name, several local landmarks reveal Pylaia’s contemporary side: the Winehouse cellar, which hosts tastings of Greek wines; the Italian restaurant Da Leonardo; and the beloved seafood eatery O Glykanisos.

From here, we climb the hill to the half-ruined Prasakakis Tower, once the residence of Dr. Ioannis Prasakakis. Built in the early 1850s and now listed as a historic monument, it is one of the oldest surviving houses in Pylaia. Like the Benouzilio silk factory, another listed monument, it remains abandoned

“DON’T BE FOOLED BY HOW ELEGANT THESE OUTFITS LOOK – BACK IN THE DAY, WE CITY FOLK IN THESSALONIKI USED TO THINK OF THE PEOPLE FROM PYLAIA AS VILLAGERS!”

Pylaia

yet full of stories. Built around 1886, the complex took its name from Levi Benouzilio, a Jewish entrepreneur who bought it in 1919 and transformed it from a brickworks into a workshop producing locks and buttons, and employing many refugees. In 1952, the building was converted into a silk factory, which operated for nearly two decades before closing its doors. Today, a proposal is pending to restore and transform it into an open-air folklore museum with educational workshops.

Flavors of Memory

Our walk through historic Pylaia ends at Anantam Papantam, the neighborhood’s oldest family-run restaurant. In 1963, the grandfather of current owner Dimitris Tziaferis opened To Makedoniko, a modest ouzeri serving small plates and local delicacies. Among them was tsirnouchia, a freshwater fish cooked with leeks, once a signature dish of the area’s home-style cuisine.

“Back then, fish came from Lake Koroneia, from Aghios Vasileios, and from our own coast,” Dimitris recalls. “Pylaia used to have many fishermen who moored their boats where the new marina for leisure boats is now planned, near the airport.” The menu still honors those roots with a beautifully prepared fish-and-leek dish.

“And don’t forget our legendary okra!” adds Maria with a smile. “Okra began to be cultivated after the Asia Minor refugees arrived in 1922, although I’m not sure how many people still grow it today.” As she speaks, she remembers the old local dialect. “My parents didn’t use articles, and their language was full of borrowings from Bulgarian and Ottoman Turkish. For instance, they called Stella ‘Stoino,’” she laughs, raising her glass in a toast.

We promise to meet again in the summer, when Pylaia celebrates the Pyliotika, a three-day festival held around July 20th and honoring the Prophet Elias with music, dance, and the spirit of a community that still cherishes its roots.•

from

Anantam Papantam. A close-up of a traditional Pylaia garment. Local treats include okra and a rice dish called atzem pilafi. Older residences in the neighborhood are being respectfully restored.

Clockwise

top: Dimitris Tziaferis, owner of the eatery

A thread of silk, a story of grace

Near the town of Serres, Anna Kaltsidou preserves the rare art of sericulture, raising silkworms and crafting timeless silk treasures by hand.

BY ISABELLA ZAMPETAKI - PHOTOS: OLGA DEIKOU

The cocoon shells that the silkworms form are processed to give us silk threads.

Right: Anna Kaltsidou, with an armful of mulberry branches, outside her silkworm house near Serres.

TTHEY SAY THAT IN the rare moments of absolute silence inside a silkworm house, you can hear a faint, rhythmic sound: the silkworms softly chewing on mulberry leaves. Even if you don’t, it’s impossible not to be captivated by their slow, deliberate movements over the green leaves just before they begin to secrete the fine silk thread that will form the cocoon in which they will transform into chrysalides.

Only a handful of people in Greece are familiar with the stages of a silkworm’s life. Most sericulturists work in Soufli, Thrace, but Anna Kaltsidou keeps her own sericulture farm in Makrynitsa, Serres, about an hour north of Thessaloniki. When she’s not tending to her silkworms, she creates natural skincare products using the protein they produce, designs jewelry from their cocoons, and prints patterns on handmade silk scarves.

North of Thessaloniki, the landscape opens into soft plains and endless fields that stretch toward the horizon. The autumn palette is gentle and earthy, dotted with great golden bales of hay. As you approach Kilkis, you see Lake Doirani to the west and the green slopes of Mount Belles rising in the north. On a rainy day, the white clouds hanging low over the hills make the scene look as though it were woven from silk itself.

Thick vegetation lines the road, and between the trunks of the trees you can see small houses with red-tiled roofs. The region abounds in mulberry trees; from the 1950s until the 1990s, many locals were engaged in silk farming, particularly families who’d arrived as refugees from Asia Minor and the Black Sea, bringing their sericulture tradition with them. Among them was Kaltsidou’s father, who built a 300-square-meter warehouse that still produces about one ton of silk cocoons each year.

“In June and July, I need fifteen people just to cut mulberry branches to feed the silkworms,” Kaltsidou says. “Especially during the last ten days of their rearing, when they eat constantly to build their cocoons. We call this period ‘the great feast,’ and everyone has to stay sharp to keep up with them.”

Only Kalsidou enters the silkworm house. The worms are extremely sensitive and can die easily from disease.

“If even one gets sick, it’s vital that I find and remove it immediately,” she explains, “to protect the others.”

The life of a worm

To give visitors a closer look at this extraordinary creature, Kaltsidou brings small colonies of silkworms to the café she runs on the road to Promachonas. Spread across a large table covered not with a tablecloth but with layers of mulberry leaves, we see silkworms at three different stages of growth. The largest are as long as a human finger; the smallest resemble fine vermicelli noodles.

On a white napkin nearby, tiny black eggs await hatching; the next generation is already on its way.

Their entire life cycle lasts just 50 days, and even within a few hours their size increases visibly. Kalsidou cuts mulberry leaves into smaller pieces for the youngest worms, who struggle to draw out the sap, and lights

THE LARGEST WORMS ARE AS LONG AS A HUMAN FINGER; THE SMALLEST RESEMBLE FINE VERMICELLI NOODLES. ON A WHITE NAPKIN

NEARBY, TINY BLACK EGGS AWAIT HATCHING.

the fireplace to keep the room warm. “They survive only between 20 and 28 degrees Celsius,” she explains, pointing out yet another sign of their fragility. “And because they feed exclusively on fresh leaves, we raise them only from April to October.”

Behind the display, the shelves are filled with silk creations Kaltsidou has made from the cocoons: scarves, shawls and delicate silk scrunchies, their patterns dyed with pigments extracted from flowers, tree bark, plant roots and insects. “I use only natural materials,” she says, “and I’ve learned to embrace the surprises this process can bring.

One day, I had left my freshly dyed scarves outside to dry, and it started to rain. The raindrops, reacting with the tannins of the natural dye, created an entirely unexpected hue. The unpredictable element,” she says, “is part of the creation itself. I’ve never made two pieces that are exactly alike.”

Left: Silkworms feeding on mulberry leaves.

Kaltsidou dyes the cocoon shells with natural pigments and transforms them into jewelry items.

Kaltsidou also dyes the silk cocoons, transforming them into elegant earrings and necklaces. Their texture is soft and pleasant, a quality owed to the protein secreted by the silkworms as they spin their cocoons. This protein, called sericin, promotes cell regeneration, and the organically produced cocoons are also used for natural facial care treatments. Kalsidou enriches her handmade olive oil soap with sericin and fresh carrot juice, blending traditional craftsmanship with gentle innovation.

The entire space carries the warmth of a true home enterprise. Visitors can enjoy homemade ekmek kataifi and galaktoboureko, or purchase honey produced by Anna’s brother Lazaros.

No matter the season, a visit to this place offers a glimpse into the beauty of silk and the quiet ritual of sericulture. I think of this as Kaltsidou, with precise, graceful movements, trims the edge of a cocoon and taps it gently on the table. From inside, a chrysalis emerges, a silkworm that hadn’t managed to pierce its silk shell. At the edge of the table rests a white moth, one that has completed its full transformation. I lift it carefully by the wingtips, tracing the delicate patterns on its silky wings, as I listen to the ancient Chinese legend of the princess who discovered silk:

“Long ago,”Kaltsidou begins, “a cocoon fell from a mulberry tree into her cup of hot tea and unraveled into a fine, shimmering thread. And so, the story goes, silk was born.” The legend makes our own tea taste all the sweeter as we sit by the fire, watching the rain fall softly over the slopes of Serres.

Koukouli, open on weekends and by appointment, is housed within Café Ioanna, located at the 42nd km of the Kilkis-Promachonas road, in Makrynitsa, Serres. Tel. (+30) 697.159.2242.

A visit here can easily be combined with an excursion to Lake Kerkini and the nearby village of Ano Poroia, a picturesque destination of unspoiled natural beauty.•

• Jewelry and silk creations by Anna Kaltsidou are available in select boutiques across Greece and can also be ordered online at annakaltsidou.gr

Above and below: Silk ribbons and scarves, the latter with floral motifs.

A silk tunic dyed with substances found in nature.

With its lush riverbanks, fine museums, close to 50 notable Byzantine and post-Byzantine churches and some very good food, Veria is the perfect place for a mini break.

A trove of historical and natural treasures heritage

Veria

BY AMBER CHARMEI

PHOTOS: PERIKLES MERAKOS

A contemplative moment at the Church of Sotiros Christou.

Left: Tranquil splendor at the edge of town.

The "Gioconda" of Veria by Themis Konstantinopoulos (signing as 'Dem'), one of his several large-scale pieces bringing a contemporary energy to the cityscape.

YYOU CAN SPOT VERIA from a distance, rising sharply above the plains of Imathia. Locals call the dramatic edge of town the “balcony;” in springtime, the famous peach orchards below are a sea of blossoms. On the northern end of town is the Archaeological Museum; Elia Park to the south is a popular promenade site. From here, a few main streets make getting around easy but losing yourself in the alleys of Veria’s historic quarters – Kyriotissa, Barbouta, Makariotissa and Panagia Dexia – is a pleasure. To find your way back out, let the sound of rushing water guide you to the Tripotamos River, its banks thick with trees. In Veria, you’re never far from a historic site, beautiful large-scale street art, something delicious to eat or a cozy place to relax over a coffee.

Veria gracefully weaves together several cultures – Vlachs, Pontians, Asia Minor refugees –against a backdrop of millennia of rich heritage. Located just 10km from Aigai, it was once the heartland of Ancient Macedonia. Later, it became a neokoros – a title of prestige granted to cities with a temple to the imperial cult – during the Roman Empire. Veria flourished as a prosperous Byzantine urban center, served as a strategic hub throughout the Ottoman period and was home to a Jewish community for many centuries. Presiding over an agricultural paradise, Veria’s natural setting is a story in itself: just 5km from town, Greece’s longest river, the Aliakmonas, cuts through a verdant gorge, while Mt Vermio (2,067m), with its forest trails and the Seli ski center, rises just west, and the Piera mountain range lies to the south.

Taking in views of the Aliakmonas and its green banks from the Kallipetra Bench.

City of faith

The city has a rich religious history. Veria’s Jewish community is described in Acts 17:11 as being “of more noble character than the Jews of Thessalonica” regarding its reception of Saint Paul, who preached from the spot now marked by the Bema of St Paul. Nearby in the historic Jewish quarter of Barbouta is the Synagogue of Veria. Jewish life flourished here until WWII, when most of that community perished in the Holocaust.

Veria is a prime destination for Byzantine art and architecture: “In the Byzantine era, Veria was something of a satellite to Thessaloniki,” says Byzantinologist Tassos Papadopoulos. This explains the wealth of churches. It’s also, he adds, associated with a significant figure: “Saint Gregory Palamas (1296-1359), considered the father of Hesychasm, a spiritual movement that shaped Orthodox monasticism and remains influential today, spent five years here.” Home to several important monasteries, the area around Veria remains a spiritual center.

A living Byzantine museum

In this snug metropolis, there are nearly 50 extraordinary Byzantine and post-Byzantine churches, most of them in use. The scale of the Old Metropolitan Cathedral, a three-aisled 11th-century splendor, conveys the prestige of Veria in the Byzantine period. White plaster surrounds the surviving portions of wall paintings of the 12th through 14th centuries, framing their beauty and drawing light into the space, bringing the architecture into focus. The Church of the Resurrection of Christ the Savior (Anastasi Sotiros Christou) is a beauty inside and out, its exterior murals (18th century) protected by a portico. Inside, natural light illuminates scenes and figures painted in the early 14th century (1314/1315), their faces distinctive in their fullness and expression. Georgios Kalliergis reveals himself as the painter in a boastful but

VERIA GRACEFULLY WEAVES TOGETHER SEVERAL CULTURES – VLACHS, PONTIANS, ASIA MINOR REFUGEES – AGAINST A BACKDROP OF MILLENNIA OF RICH HERITAGE.

generous inscription over the door: “The painter is called Kalliergis, the best painter of Thessaly, together with my good and decent brothers.” Another highlight is the 15th-century Church of Aghios Patapios, built over the ruins of a 5th-century early Christian basilica, its floor mosaics preserved around the site. Follow the walkways to the basement of an adjacent apartment building, where a marvelous surprise awaits: a 4th-century baptistry. A guard can escort you.

From the Neolithic era to the recent past

Veria is surrounded by millennia of archaeological wealth. Collections of the Archaeological Museum of Veria span the Neolithic through Roman eras, while the splendid exhibitions of the Polycentric Museum and the Royal Tombs of Aigai are just a 15-minute drive away. The fine collections of Veria’s Byzantine Museum – portable icons, mosaics, coins, manuscripts and more – are displayed over three floors in Markos Mill, in the historic Kyriotissa district.

In the 18th-century Sarafoglou Mansion, the Veria chapter of the Lyceum Club of Greek Women – a women’s organization preserving local heritage all over Greece – has assembled a fine collection. The world of 18thand 19th-century Veria is seen in the elegant urban dress, household objects, tableware and furnishings, and various ephemera that are displayed in this traditional mansion and its courtyard.

The City Hall is one of Greece’s loveliest. Until 1996, this was the city’s high school, and the stylish restoration itself is worth a look. The building also serves as an informal exhibition space with historic photos – visitors are welcome to drop by.

Gastronomy, Veria-style

After all this strolling around, a bite on the go from Riza M (113 Κentrikis) is just the thing. “Riza means ‘root’ in

Veria

Clockwise from top: Faith and natural splendor converge at the Kallipetra Monastery. Airy, syrupy revani is a Veria specialty. At the Wall of Memory, outside the Archaeological Museum. In the Makariotissa district, a glimpse of the Church of Saints Cyricus and Julitta.

Greek. But for Pontians, ‘riza’ means the new generation, the seed that flourishes,” explains Linda, one of the three siblings of the Autzidis family serving up traditional Black Sea bakery goods, such as airy pirozhki, savory pies of flaky perek and delicious otia (“ears” of sweet fried dough). Veria’s signature treat, revani – a delicate semolina cake moist with syrup – is also a must, and nostalgic Lido (61 Mitropoleos) where happily not a thing has changed for decades, makes a delicious version. Their ice cream, made from local sheep’s milk thickened with salep (the root of a wild orchid, which makes it deliciously stretchy), is also a specialty. For edible souvenirs, visit Farmakis (1 Pindou) where three generations work side by side making traditional cheeses, including smoked braids of kaseri as well as the local batzos, which enjoys protected designation of origin status. For a coffee break in the warmer months, stop by Nea Barbouta on the riverbank, where your order arrives via zipline.

Serious feel-good dining in the mahala

“When Anna cooked, the scent filled the mahala [neighborhood], gathering all the children to eat. That was the custom: whoever had enough to cook, shared. On Sundays, our father had the day off, so he’d put some rebetiko in the cassette player as the house filled with relatives and he made everyone a big lunch.” The Samoukas brothers – chef Giannis, with Thanassis and Manolis front of house – reminisce about the world they grew up in; the Asia Minor refugee community of their forebears lived across the Tripotamos River from 12 Grada (11 Sofou & Dimosthenous), the restaurant they opened as a tribute to their heritage, a love of sharing food through the generations.

It’s all about community here; the brothers grow all their produce or source it from their neighbors. Guided by the season, Giannis enhances his dishes with inspired details; the dolmadakia are wrapped in the leaves of the local

xinomavro grape and made fragrant with preserved lemons. The ragout, made with Veria’s famous beef, is a standout. With xinomavro and fruit –prunes or, in winter, quince – the dish is a tender nod to the past, a time when making use of everything available was essential. This is thoughtful fine dining with a Cucina Povera soul. Oenophiles should take special note – some very rare local wines are among the many tempting choices.

info

• Archaeological Museum of Veria: 47 Anoixeos, Tel. (+30) 23310.249.72

Winter: Wed-Mon 9:00-17:00. Summer: Wed-Mon 8:0020:00, Tue 12:00-20:00.

• Byzantine Museum of Veria: 26 Thomaidou, Tel. (+30) 23310.761.00

Winter: Wed-Mon 9:00-17:00. Summer: Wed-Mon 8:00 -20:00, 12:00-20:00 Tue.

• Sarafoglou Mansion: 14 Ierarchon, Tel. (+30) 694.594.1596, Mon & Thu 10:00-12:00, lev.gr, or by appointment.

• Veria Synagogue: 6 Olganou, by appointment with Mrs Evi Meska, Tel. (+30) 698.388.0329

General information:

• Municipality of Veria, Tourism Department, tel. (+30) 23313.506.08, discoververia.gr

• Many thanks to Ioannis Valachis of the Municipality of Veria and to Nick Ampa for the particulars on sport climbing; for detailed information on routes all across Greece, see thecrag.com.

Veria

Along the lush banks of the Aliakmonas

If you can find time to enjoy more of the area, the surrounding region is full of discoveries. Aliakmonas Dam and its serene lake are five minutes from town. Reached via the village of Asomata heading south is the Kallipetra Bench. Thrillingly high above the river, it’s actually more of a picnic table; you could bring lunch but be aware that it’s a very popular spot. The beautifully situated Kallipetra Monastery, with its 17th-century icon of the Virgin Kallipetritissa, is a couple of kilometers down the road. The monastery’s archondariki, where the monks might offer you a coffee and loukoumi, is a fine example of local craftsmanship. Going south along the east bank will bring you to a road ascending to the Holy Monastery of Saint John the Baptist, also called the Monastery of Timios Prodromos, the Holy Skete of Veria. Perched high above the Aliakmonas, the monastery fits the drama of the landscape perfectly. A gate leads to a richly painted chapel and a cave with free-standing figures of saints and Christ rendered in the Byzantine style.

Adventures galore

For some, the Aliakmonas itself and its steep gorge are the main draw. Below the monastery, off the main road along the river, there’s a rockface. Look up, and you’ll see groups outfitted with helmets, ropes, harnesses, climbing quickdraws and belaying devices, out for an amazing day as they scale the rock. This is the Nikos Pitoulias crag, a sport climbing destination with bolted and secured routes of different grades to suit every climber, beginner to experienced. Climbs range from 15 meters to an impressive 40 meters. Walking through the gorgeous countryside is a more sedate pursuit. With the Aliakmonas on one side, Mt Vermio on the other, and a host of monasteries and lovely villages throughout the area, exploring by car is a pleasure, too.•

Peach blossom season in March is a wonderful time to visit Veria.

BY GIANNIS E. CHRYSAFIS

What is a “KOUTOUKI”?

A Thessaloniki expert selects 13 spots that have preserved the atmosphere of an authentic “koutouki,” an eatery where it’s never all about the food.

Vradiazei

EEVERY GREEK CITY that respects its history and traditions should honor its koutoukia. These places, and the people who frequent them, often reflect the very soul and temperament of the city itself.

The word “koutouki” isn’t simply a synonym for “eatery,” and it’s certainly not a term suggesting fine dining or service. In a koutouki, the food options are simple in nature and limited in number, as are the drinks: ouzo, tsipouro and wine, usually served from the barrel, to accompany whatever the kitchen offers. The food, while usually good, is rarely exemplary. What you will find remarkable, however, are the smiles and the warm welcome, often radiating not only from the owner but also from the regulars. This is particularly true when there’s live music; with a few unplugged musicians, or even just an old jukebox, the shared cheerfulness becomes even more contagious.

That’s the essence of a koutouki, a kind of establishment that is, unfortunately, slowly disappearing. These days, when a koutouki close down, it’s not replaced by a new one. It takes both stamina and heart to keep such places alive, and not everyone can make that commitment. For that reason, it’s hard to compile a list of genuine or historic koutoukia in Thessaloniki. Only a few remain that truly capture the spirit of the old days. Among them, one stands out above all; for a number of reasons, Domna is rightly considered the city’s quintessential koutouki.

Domna

#1 Domna

Ascending Aghiou Dimitriou Street towards Ano Poli, just past the Byzantine walls, you’ll find a modest structure with a small, faded sign that reads Domna. This is the place. It’s open on Friday, Saturday and Tuesdays only, and even then only with a reservation. Domna was founded in 1943, during the German occupation, by Takis (Panagiotis) Nikolaidis, a refugee from Eastern Thrace, who first named it Remataki (“Little Stream”), after the brook that once flowed behind the house. When his wife Domna died in 1952, he renamed the taverna in her memory. In the 1960s, it evolved from a grocery-taverna into a koutouki: a tiny, warm room filled with laughter, stories and the sound of rebetika from the jukebox. Takis’ easy manner and fair prices made the place a popular spot for locals, students and, later, artists, professors and journalists, the city’s cultural crowd, who turned it into a Thessaloniki institution.

During the junta, Domna became a discreet hub of resistance. Patrons sang Mikis Theodorakis songs, shared news and sometimes faced police raids. But the taverna always reopened, each time even more respected. When Takis retired in 1992, he briefly closed the doors, only to reopen by popular demand once a week, until his death in 2010. His sons Christos and Kostis have since kept the spirit intact. You’ll find the same tables, the same warmth and the same menu because, at Domna, when you try to order, the waiter still smiles and says, “Order whatever you like, we’ll bring you whatever we want.”

39 Athanasiou Diakou, Aghios Pavlos, open Tue, Fri and Sat nights.

#2 Doxa

At the corner of Kassandrou and Olympiados streets, just up the road from the Turkish Consulate and the house in which Kemal Atatürk is said to have been born, stands Doxa. Its plain exterior may not live up to its name (The word “Doxa” means “Glory” in Greek, although in fact the koutouki is named in honor of the football team Doxa Dramas), but its history and spirit certainly do. Founded in 1968 by the Papadopoulos family, refugees from Samsun in Pontus who later settled in Drama, it remains a warm, unpretentious meeting place where simplicity and good food prevail. Since 2002, third-generation owner Tasos and his gracious wife have carried on the family tradition, keeping prices fair and the atmosphere, which is welcoming to students and locals alike, unchanged.

25 Apostolou Pavlou, Tel. (+30) 2310.202.608

Open daily 13:30-23:30.

Domna

Doxa is a no-frills eatery in operation since 1968.

Nea Folia

Pire kai Vradiazei

© OLGA DEIKOU

#3 Pire kai Vradiazei

On the eastern side of Thessaloniki near Ippokrateio Hospital, Pire kai Vradiazei (“It’s Getting Late”) reminds you that, when night falls, it’s time to come in for the evening. Run since 1999 by the Nousigas and Hatzileonidas families, it continues the work begun by Kostas Papadopoulos and his son Nikos. This koutouki is home to the century-old tradition of the “Lechrites,” a merry brotherhood of Thessalonians who hold boisterous celebrations during the Carnival season.Their gatherings, once strictly men-only, have become a popular local ritual for all. Each year, the Lechrites return here to toast their history and keep the fun alive. If you want expertly grilled soutzoukakia (oblong meatballs) and live music, book a table here. It’s the dish that everyone orders, even the musicians.

7 Omirou, Tel. (+30) 2310.832.926

Tue-Sat 13:30-1:30, Sun 13:00-18:00.

#4

Ta Bakaliarakia tou Aristou

In Thessaloniki’s historic Ladadika district, where Katouni Street meets Nikis Avenue near the old port, lies a century-old culinary gem: Ta

Bakaliarakia tou Aristou (“Aristos’ Little Cods”). Founded in 1910 by Kostas Ignatiadis and later run by his son Aristos, who gave his name to the place, it became legendary for its perfectly fried cod. Since 1987, the Kerranidis family has been the keeper of the recipe, unchanged through three generations. The cod still comes from Norway, the batter is made with care, and the fish is always served on greaseproof paper –never plates – with garlic dip, potato rounds and a spicy grilled pepper. It’s simple, it’s timeless, and it’s authentic.

2 Katouni, Tel. (+30) 2310.542.906, Daily 11:00-18:00.

#5 Nea Folia

Founded in 1967, and run since 2010 by Dimitris Vardalidis and chef Giorgos Chlouzas, Nea Folia serves Greek cuisine with a creative touch. Once famed for the retsina barrels that held its own homemade wine, it has kept the same warm, cultured spirit that made it the haunt of students and intellectuals during the junta years.

4 Aristomenous, Tel. (+30) 2310.960.383 Wed-Fri 15:00-23:00, Sat 13:00-24:00, Sun 13:00-18:00.

Ta Bakaliarakia tou Aristou

#6 Stasi

On historic Kallithea Square in Ano Poli, Stasi (“Stop”) has been operating since 2016 at the spot where a city bus stop once stood. A cooperative owned by eight former hospitality workers, it’s run according to principles of equality and shared responsibility and serves students, locals and, every Good Friday, the faithful returning from the nearby Church of Aghios Nikolaos Orfanos.

1 Andokidou, Kallithea Square, Ano Poli, Tel. (+30) 23130.698.89.

Daily 10:00-01:00.

#7 Tsinari

At a crossroads in Ano Poli, beneath a plane tree for which it is named (“tsinari” means “plane tree” in Turkish), this legendary eatery has been in operation since the 1880s. Once a small café, it grew into one of Thessaloniki’s best-loved tavernas. Still run by the Papadopoulos family, it has preserved its Ottoman-era charm and a menu rich in Anatolian flavors.

72 Alexandras Papadopoulou, Ano Poli, Tel. (+30) 2310.284.028.

Daily 13:00-24:00.

#8 Kronos

Beneath a row of plane trees in the leafy Depo district stands Kronos, a classic Thessaloniki taverna founded in 1961 by Christos Christodoulou. It took its name from the nearby cinema Kronos, becoming “the taverna next to Kronos,” a name that stuck for good. Since the late 1980s, Christos’ son Socrates has been in charge, raising standards while keeping the same warm atmosphere. The retsina is now sourced from Karystos, the food is all homemade, with the soutzoukakia as a highlight, and the walls are lined with vintage collectibles that tell their own story. It’s a true neighborhood institution that still honors its founder.

178 Vasilissis Olgas & 30 Georgiou Vafopoulou, Tel. (+30) 2310.414.730 Tue-Sat 13:00-24:00, Sun 12:00-18:00.

#9 Ta Panta Rei

Heraclitus said, “Everything flows,” which is this spot’s name, too, although owner and cook Angeliki Christodoulou insists the only thing flowing in her kitchen is a steady rise in quality. Serving hearty Greek home cooking with a focus on slow-cooked dishes, she adds live music on winter Saturdays, and plenty of warmth year-round.

33 Kifisias, Kalamaria, Tel. (+30) 2310.450.332 Mon 12:00-18:00, Tue-Sat 12:00-24:00, Sun 12:00-18:00.

Tsinari

#10 Akratos Oinos

In Thessaloniki’s Ladadika district, Akratos Oinos is notable for its extensive wine list and elegant Greek-Mediterranean flavors. Here, chef Akis reimagines family recipes and childhood flavors in a refined yet welcoming setting.

11 Katouni, Ladadika, Tel. (+30) 2310.534.405. Daily 12:00-24:00.

#11 Dia Tauta

Giving the traditional koutouki spirit a modern twist, Dia Tauta offers live music, an extensive menu and a lively, youthful crowd. It keeps the customary conviviality of such spots alive, but injects a livelier rhythm.

6 Vatiktioti, Tel. (+30) 2310.260.384

Mon-Thu 12:00-02:00, Fri-Sat 12:00-03:00, Sun 12:00-1:30

#12 Favela SKG

Seven neighboring bars joined forces in 2021 to create Favela SKG, a colorful, Brazilianstyle corner of Thessaloniki. With cocktails, Latin bites and vibrant music, it’s an imaginative reinvention of the koutouki spirit, redefined for the night.

Inside the Bit Bazaar market. Open daily from evening until late

#13 Aspro Dendro

In the Bit Bazaar area, Aspro Dendro (“White Tree”) combines the dining and theater experience under one roof. Founded in 2020 by chef-actor Antonis Fotiadis, it features a front restaurant and a small stage behind the kitchen for performances and acting classes. Calm, creative and truly unique, this is a place to eat, dream and enjoy.

5 Olympou, Tel. (+30) 2311.821.585

Daily 10:00-23:00 (Mon & Sun until 22:00). Kronos

THE THESSALONIKI-BORN WINEMAKER WELCOMES US TO HIS ESTATE IN EPANOMI AND SHARES HIS STORY –WHICH IS ALSO, IN MANY WAYS, THE STORY OF MODERN GREEK WINE.

evangelos gerovassiliou

In Love with the Vineyard

BY ANGELOS RENTOULAS*

PHOTOGRAPHY: YIANNIS BOURNIAS / THIS IS NOT ANOTHER AGENCY

The winemaker among the Malagousia vines at his estate in Epanomi.

IIT TAKES BARELY an hour to reach the Gerovassiliou Estate from downtown Thessaloniki. As we leave behind the dense cityscape, the landscape rewards the eye with luminous greens of the season. Though Epanomi has become almost a suburb of the city, large stretches of the road still run through rich farmland and wild, enticing nature. Approaching the estate, you don’t quite know where to look first – you’re momentarily stunned. A triumphant vineyard spills across the surrounding hills and plains, fluid and harmonious, as if painted by a master’s hand – Cézanne, perhaps, or Pissarro, working with an inquisitive brush on a living canvas.

A vibrant work of art

“Look how beautiful the vineyard is,” Evangelos Gerovassiliou says as he welcomes us to the estate. We walk along the winding entrance path to fetch umbrellas from the visitor area, and he adds, “It’s nature’s own artwork – if you know how to cultivate it. Is there any other plant as beautiful?” We’ve arrived at an ideal moment of the year – late spring – when generous rains have farmers rejoicing in these longawaited, thirst-quenching showers.

Brief introductions

In our exchanges before this meeting, Gerovassiliou sounded almost puzzled by my request for an interview. He’s a living legend of Greek wine – that’s

my phrase, not his; he would never call himself that – and legends, one might think, need no introductions. Or do they? After all, every bottle that bears his label, whether from the estate or from one of the other wineries he oversees, is an introduction in itself. His wines are great wines – and not just in the Greek market, but internationally, too.

Still, for younger generations, introductions might be useful, so here goes: Gerovassiliou is one of the foremost figures in a field that has undergone tectonic shifts in recent decades. He belongs to the generation of winemakers who crafted wines of quality and, with patience and integrity, brought them to the lips of many. He is part of a generation that educated us in wine and filled us with pride for our own, one of a new, serious and upright entrepreneurial elite that rolled up its sleeves and worked to ensure that this important sector thrived.

In Gerovassiliou’s work – and in the work of a few others like him – we see an optimistic reflection of a country rediscovering its confidence. What is needed is to dare, to work, and to create. Standing on a historical threshold and making use of every intellectual tool available, his generation, with its rare mental resilience and deep historical grounding, did a remarkable job of applying everything they learned, both in the realm of agricultural and beyond.

A childhood in the fields

“I was born here in Epanomi. My father was orphaned at the age of two – his father was killed in the war in Asia Minor. His mother remarried, and his stepfather threw him out. A cousin took him in and, as a little boy, he sold eggs to get by. My mother came from a farming family. She was top of her class at school, but in fifth grade her father pulled her out to work in the fields. That’s how life was then. Maybe that’s why she was determined that her children would study – because she never had the chance herself.

“My parents met while working as laborers in the fields. They married with nothing, as my mother used to say. The only wedding gift they received was a small coffee pot. That’s how they started. They were hardworking people. They built their little house and managed to buy a few plots of land. My mother’s one and only goal was for her children to get an education. My older brother and I were both good students. He was admitted with honors in chemistry at the university in Thessaloniki, and I got into agronomy. I liked it – it felt close to what I knew, to the land. We had worked in the fields since we were little.

“I still remember it vividly: under a wild pear tree my parents had hung a swing for me while they worked. I played with butterflies and grasshoppers, with ladybirds and lilacs… My whole life was in the fields. Later, while I was still young, we kept two goats, two horses, a pig, some chickens. We were self-sufficient; we lacked nothing. We had our own milk, cheese, meat, eggs – and a pig for Christmas.

“I liked my studies in agronomy, but they didn’t fulfil me completely – I wanted something more. By my second year, I was already thinking about postgraduate studies. Then came a strange coincidence: my father’s wine had gone bad, and someone told me there was a chemist in Thessaloniki who made wine. I took him a sample to taste. He said, ‘The wine’s spoiled, but come see me during harvest time.’ When I did, I brought him some must, and he told me to add this and that. I asked him what those things were – I was an agronomy student, after all – but he said it was a secret. When I left, my mind started racing. I had to find out what it was. That’s how I discovered there was a school of oenology, and from my second year onward I set my heart on studying there – in Bordeaux, in France.

“My father was doubtful. ‘Why go abroad? Your brother’s already a chemist,’ he said. But I was unstoppable.”

Evangelos Gerovassiliou with his wife, Sonia Tziola-Gerovassiliou and their three children: Vassiliki, who leads marketing; Argyris, a talented oenologist; and Marianthi, who has begun taking on the management of the estate. In the background stands “Balancer”, a sculpture by George Lappas.

Learning the Great Wines

“In Bordeaux, I discovered a world that embraced me. It was just after the fall of the dictatorship in Greece, and the French were very sympathetic towards Greeks at the time – there was Melina Merkouri, Theodorakis… They really welcomed me. I did well at school. My professor at the University of Bordeaux, Émile Peynaud – who was also the technical consultant at Porto Carras – said to me, ‘If you wish, I can arrange for you to work at Porto Carras when you graduate.’ And that’s exactly what he did; he took me under his wing and made me part of his team.

“His team included some major players, and we would visit the finest châteaux. We had access to things I couldn’t even fully appreciate back then. It was an extraordinary experience – we would take samples and taste wines straight from the great estates. Tasting, dégustation, was part of our studies. I couldn’t yet grasp the magnitude of the wines I was trying, but it was nonetheless a unique opportunity.

“What impressed me most in France was the work done in the vineyards, because in all great wines, the real work happens there. That’s why you saw our vines here looking the way they do. The vineyard gives you your raw material and your quality – if you know how to handle it. The oenologist doesn’t add anything; he must bring out the best qualities of the grape and seal them inside a bottle. That, for me, is the philosophy of a good winemaker.

“Oenology is a science – but there is also intuition, and what we call art. Everyone learns the same principles, yet some make great wines and others don’t. It’s like painting: everyone has brushes, but it’s intuition that tells you when to harvest, when to intervene, and how to handle the process. Often it comes down to the smallest of decisions – but those are what make a great wine. I saw all that in practice. It taught me a great deal.”

The Legendary Porto Carras

“I started working at Porto Carras when I was 25; I was under Peynaud’s supervision for the first eight years. Porto Carras was a school in itself – not only for wine, but for life, for society. Mr Carras was a true gentleman, a man of ideals, of vision for his country and his people. He embraced everyone who worked there. He created Greece’s first integrated resort complex: an olive press, a winery, cold-storage facilities, bakeries; he had already created decades ago what we now call agritourism.

“He invited some of the best architects in the world to design the hotels, built the first golf resort in Greece, and turned the place into a hub of culture. Salvador Dalí came, Gina Bachauer played the piano and gave lessons there, and every year the World Youth Music Congress was held there. Everyone passed through – great personalities such as Niarchos, Mitterrand, Karamanlis, Rallis, Mavros, Papandreou… For me, it was an extraordinary experience.

“At Porto Carras I entered fully into the spirit of fine wine. It was the first estate in Greece with its own vineyards and a modern winery, and we produced great wines. The Blanc de Blancs became internationally known. We were making wines based on the French wine philosophy – revolutionary for Greece at the time. The Blanc de Blancs was Assyrtiko, the first Assyrtiko ever cultivated outside Santorini. Back then, Santorini wines were rather heavy, slightly oxidized. In 1974, Assyrtiko arrived at Porto Carras, and we made fresh, fruit-forward wines like those of today – but at the time it was a revelation.

“Because those wines had naturally high acidity, they weren’t easily accepted in Greece then. People found them too sharp. They were ahead of their time. But Porto Carras had such prestige – its wines were sold at Harrods – that it inspired others to follow. I remember Yiannis Boutaris and Tsantalis coming to see the winery. It was the first to be built according to French standards: a four-level design by architects from Marseille, equipped with the most advanced technology available.

OENOLOGY IS A SCIENCE – BUT THERE IS ALSO INTUITION, AND WHAT WE CALL ART. EVERYONE LEARNS THE SAME PRINCIPLES, YET SOME MAKE GREAT WINES AND OTHERS DON’T.

“I truly believe Porto Carras played a decisive role in the development of Greek winemaking. It was the first experimental and demonstrative vineyard of the Wine Institute and the University of Thessaloniki for international grape varieties. At that time, foreign varieties were officially prohibited in Greece. Averoff had secretly planted Cabernet, but no one else had done it openly. When the experiments at Porto Carras succeeded, the Vine Institute and the Department of Agriculture granted permission to import foreign varieties – Cabernet Sauvignon and others. Porto Carras opened that door.”

The Rescue of Malagousia

“At Porto Carras we managed to save the Malagousia grape variety. I realized it had great potential, so we

gradually increased its numbers – from just four or five vines to four hectares within three or four years – and produced the first wines. I saw that this was a variety with a future, and I said to myself, I’ll work with it, too. So I planted a small vineyard here in Epanomi, at the same time as I was still at Porto Carras.

“When I first started working with Malagousia, I truly believed in it. Nobody knew it back then. But I felt it was worth dedicating myself to. When I planted it here and began making my own wines, I traveled all over the world – for exports, to meet journalists, to let people discover it. It wasn’t easy. It took ten to fifteen years before the name ‘Malagousia’ began to be heard.

“In 1986 I made my first AssyrtikoMalagousia blend here, called Beau Soleil. It was a great success – four or five thousand bottles sold immediately. Gradually I began buying land, adding one or two hectares every year, all planted with Malagousia. From 1981 to today, over 45 years, I’ve kept expanding the estate – every time buying a new plot, planting Malagousia or something new. Today we’ve reached 120 hectares.”

The Other Wineries

“In 1989, Vassilis Tsaktsarlis – one of the finest oenologists in the world and now my partner at Biblia Chora –left Lazaridis, where I had first helped him get started as a young winemaker. We decided to create the Biblia Chora winery in the region of Kavala. We began modestly, but the potential for quality there was enormous. It went – and is still going – extremely well. We now have 80 hectares and a beautiful winery, producing a range of outstanding wines.

“At the same time, we decided to invest in other parts of Greece that weren’t yet well known. We went to Goumenissa, where we bought Titos’ small estate – a beautiful property – and started producing Goumenissa wines. Then my friend Christos Kokkalis,

who owned the Trilogia Estate in Ilia, asked me to take it over and develop it further. It was a wonderful place. We bought it, renamed it Ktima Dyo Ipsi (‘Two Heights Estate’) – and now we produce Monologos, Dialogos and Trilogia: remarkable wines.

“In Santorini we collaborated with the exceptional local oenologist Ioanna Vamvakouri. Because the island is already full of wineries, we chose to go just across the water, to Thirasia – which has the same soil and climate quality –and there we started a very difficult venture. We built a small winery in the face of immense challenges: no transportation, no water, no electricity, nothing. The investment cost was four times higher than anywhere else. Yet we created a small miracle: the organic wines of the winery Mikra Thira, which in no time began receiving major awards and are doing extremely well.

“Here at the Epanomi estate, we have 86 permanent employees, 130 in total with the seasonal workers. Counting all the wineries together,

we’re around 300 people. Vassilis has two children – both studied oenology in Bordeaux and have just joined us. They’re excellent. Sonia and I have three children, and they’re all involved in the work, too: Argyris is an oenologist, Marianthi is a lawyer and Vasiliki works in marketing. Between us, we’ve covered the full spectrum.”

The Climate Challenge

“The changes in the climate over the past 15 to 20 years have been dramatic. We now have fewer but much more intense and sudden rainfalls. Three years ago, we had 200 tons of water per 0.1 hectare – the first time in history, something like the 2023 floods in Larissa. That’s why we changed the way we cultivate. We now leave the vineyards untilled, with the grass growing between the rows, so that the soil doesn’t get washed away. And we avoid heavy leaf-thinning so the vines don’t burn in the sun. Science helps us, as does experience. But we must take precautions and respect nature.

AGRICULTURE MUST BECOME MORE RATIONAL: WATER SHOULD BE USED ONLY FOR PRODUCTIVE CULTIVATION – NOT FOR SUBSIDIZED CROPS THAT YIELD NOTHING. LET’S NOT FORGET THAT AGRICULTURE ACCOUNTS FOR 86% OF TOTAL WATER

CONSUMPTION.

“At some point, agriculture must become more rational: water should be used only for productive cultivation – not for subsidized crops that yield nothing. Let’s not forget that agriculture accounts for 86% of total water consumption. Real farmers understand this instinctively, but many just set up a sprinkler and water in the middle of the day. How can you do that at noon? Sixty percent of it evaporates! That must stop. The water issue is critical; we need to save it. Some say desalinated water is a solution – but it’s not a good one. Quality desalinated water is very expensive, and often not suitable. I’ve seen it in Santorini; it can add unwanted salts to the soil. The real solution is to protect our groundwater, and to use water wisely, only where it’s truly needed.

“It’s very hard for any government to confront the farmers. They’ve grown accustomed to subsidies – it’s a longstanding issue. When you know you

can block a road with your tractor and end up getting compensation or a grant, you’ll keep doing it. But the purpose of agriculture is to find solutions for production. Production is what will save us.

“One positive thing we have is that Greek grape varieties are ancient and are capable of adapting naturally to climate change. Look at how resilient the Assyrtiko of Santorini is – it thrives in conditions that are almost desertlike. So it’s a variety that can survive almost anywhere. The Limnio, a grape mentioned by Aristophanes in the 4th century BC, still exists today. That means it’s resilient and will endure all weather extremes. And, of course, we don’t imagine this place turning into a desert – but we will have water problems. It’s a viticultural challenge. There are rootstocks resistant to drought, there are suitable varieties. Right now, we have forty different varieties in our experimental vineyard – that’s what we’re working on: discovering which ones will endure the changing climate.”

A Model Winery

“I’m proud that, because of us, five new small-scale wineries have been created in our village and, in the wider area, another seven. I’ve even met people from Crete who tell me, ‘We saw you as a model and dared to start our own.’ I’m happy that a whole movement of small producers has emerged – possibly inspired by us and our style – and that they are all satisfied with what they’ve achieved.

“Greek wine has a great future, in my opinion. Our native varieties are becoming known; the Greek brand name is being built; there’s plenty of room for growth. I see the future as very positive. In recent years, young people have started to get involved. There are now European Union programs that provide funding. One must take advantage of these opportunities and have the courage to try. The challenge, though, is that the best vineyard areas are far from Athens and Thessaloniki.

You have to move to the countryside, to decentralize. And I’m not sure how many young people want to live there. But there are some who dare.”

Epilogue

While the winemaker has been telling me all this, we’ve been walking, first on roads through the vineyard, then through the bottling and packaging areas, and then down into the cellars where the wines mature.

We’ve also visited the unique Wine Museum, and heard the stories it whispers into the ear of the inquisitive visitor – stories about the world of wine: the ancient symposia and how the Greeks drank their wine, the methods and materials used for transporting it through the centuries, viticulture and the crafts of barrel-making and cork-cutting.

It’s a beautiful museum, home to so many fascinating objects – from decanters and ancient amphorae to pumps and presses. There’s also a rare collection of 3,000 corkscrews from

different eras and different lands, which the winemaker assembled during his travels; those journeys shaped him and deepened his love for wine.

At one point, we stop before a horizontal display case. “A Swede, in 2011, when all the Europeans were insulting us and calling us lazy, wrote this,” Gerovassiliou says, inviting me to read the notice in the case:

“My wife and I wanted to make a donation to Evangelos Gerovassiliou and the Wine Museum. Nowadays, many speak of Greece’s debt to Europe, but they forget Europe’s debt to Greece. I will mention only this: Democracy, Art, Wine. I have chosen six different corkscrews, all inspired by wine and Greek mythology.”

“He found them and sent them to me. Isn’t that deeply moving?”

We pass through courtyards and gardens, admiring impressive sculptural works by important Greek and foreign artists, planted among the vines and around them. This open-air gallery –rare and remarkable as it is – still cannot compare to the impeccably groomed vineyard itself, the ultimate work of art.

GREEK GRAPE

VARIETIES ARE ANCIENT AND ARE CAPABLE OF ADAPTING NATURALLY TO CLIMATE CHANGE. LOOK AT HOW RESILIENT THE ASSYRTIKO OF SANTORINI IS –IT THRIVES IN CONDITIONS THAT ARE ALMOST DESERT-LIKE.

My visit ends in the tasting room. We swirl and sip the Malagousia, the white Estate blend (MalagousiaAssyrtiko, another Gerovassiliou “invention” that inspired many), and the outstanding Syrah. The room is packed with people – Greeks and many foreigners. It’s an ordinary Friday. An American couple is looking for somewhere to sit; Gerovassiliou signals to his staff to bring an extra table for them.

I watch, I taste, and I reflect on the man: ten lives in one, lived in another world entirely – densely woven, full of promise. A maker of wines that are works of art, a creative soul that has offered so much to society.•

*Angelos Rentoulas is director of the gastronomy publications of Kathimerini. This interview was first published in Gastronomos, Issue 233, June 2025.

Above: More than 2600 corkscrews, forming one of the world's largest collections of such items, are on display at the Wine Museum Gerovassiliou.

Right: At work on the packaging line at the winery.

BY JOHN PAPADIMITRIOU

OLGA DEIKOU

From postmodern bougatsa to woodfired pizza and pirozhki, Thessaloniki’s street food scene is evolving, balancing tradition with innovation.

Street Food, Thessaloniki -Style

PHOTOS:

TTHESSALONIKI’S HISTORY as a city of refugees has infused its cuisine with the flavors of Pontic Greeks, Asia Minor refugees, Jews, Armenians and many other communities. Many of the city’s everyday food habits were shaped by those arrivals – take the bougatsa, for instance, brought by Asia Minor Greeks to forever change the city’s mornings. These flaky pastries, filled with custard or cheese, remain a staple of Thessaloniki’s street food, as does the iconic sesame bread ring, or koulouri. Some would also add gyros, wrapped in pita or stuffed into a bun, to the list of local classics.

Over time, however, tastes have evolved. Dietary preferences have shifted, and the city’s population has diversified – particularly in the past decade, with the arrival of digital nomads. As a result, Thessaloniki’s street food culture has changed, or rather, matured. From Aristotelous Square and the famed Ladadika district to the Toumba and Kalamaria neighborhoods, new street food hangouts have sprung up alongside traditional bougatsa shops, souvlaki joints and food trucks.

Perhaps the turning point came in 2013 with the invention of the bougatsan – a playful hybrid of bougatsa and croissant – introduced by the café Estrella and garnering praise from The New York Times. As tourism grew, especially after the pandemic, eateries with a more international outlook began to flourish. “Today, Thessaloniki is a contemporary gastronomic destination, particularly after joining UNESCO’s Creative Cities Network. In many cases, its elevated street food scene is now synonymous with high gastronomy – both for the quality of its ingredients and its cooking techniques,” notes chef and marketer Theodoros Pastourmatzis, who represented Greece at the 2025 Balkan Food Festival in Belgrade.

Having worked for years in the restaurant business, Pastourmatzis decided about a decade ago to launch his own food truck, promoting primarily Greek products. That idea evolved into The Greek Cantina, an energy-autonomous mobile kitchen that travels across Greece and abroad, serving flavorful quick meals made with local ingredients – such as a juicy Greek beef smash burger.

With Pastourmatzis as our guide, we explored new street food spots, as well as a few timeless favorites. Because while innovation in food is always exciting, some classics – such as Mama Tereza, the legendary food truck at the port where every night owl eventually ends up – never fade.

THESSALONIKI’S STREET FOOD CULTURE HAS CHANGED, OR RATHER, MATURED ... NEW STREET FOOD HANGOUTS HAVE SPRUNG UP ALONGSIDE TRADITIONAL BOUGATSA SHOPS, SOUVLAKI JOINTS AND FOOD TRUCKS.

SNACK GRILL EXPRESS

Nearly a century of flavor lives on at Snack Grill Express in Toumba. It all began in 1926, when the great-grandfather of current owner Sakis Vassiliadis opened a tiny, nameless grill house serving just a few simple meze. Passed down through generations, the spot remains one of the city’s enduring street-food landmarks. The hand-painted sign that still lights up the facade was added in 1980 – the same year the place finally got its name. “My father called it Express, inspired by his years in Sweden and the idea of modern, fast service,” Sakis recalls. Today, he continues to make the gyros himself: trimming and seasoning the meat, then slow grilling it over charcoal until it’s crisp on the outside and juicy inside. Served either wrapped in pita or as a plate, it’s a local favorite – rivaled only by another house classic, the stuffed burger with mushrooms and Roquefort. ➢ 7 Malakopis

FΕYROUZ

MAVERICK

Half-brothers Dimitris Kassis and Apostolos Petridis opened Maverick in the summer of 2024. Lifelong food enthusiasts, they envisioned a street kitchen serving sandwiches made entirely from ingredients they cook themselves. The dish that perfectly sums up their philosophy is the brisket sandwich: beef brisket slow-smoked in their custom-built smoker right beside the truck, tucked into multigrain sourdough bread, and layered with braised sauerkraut, roasted-garlic mayo and mustard vinaigrette. “We wanted to be in direct contact with people, not hidden behind four walls,” says Dimitris, as he shapes the patties for their much-loved smash burgers.

➢ 179 Ethnikis Antistaseos, Kalamaria

In Arabic, “lahmacun” literally means “dough and meat.” The version at Feyrouz features ultra-thin, hand-rolled dough topped with minced beef seasoned with a blend of Levantine spices, then finished with Syrian-style baba ghanoush (a smoky eggplant purée), yogurt, a colorful salad and a drizzle of pomegranate dressing for freshness. Feyrouz also offers two vegetarian interpretations: one with wild Syrian thyme and a mix of 14 spices, and another with eight vegetables, fresh herbs, tabbouleh and hummus. All these options are made following traditional family recipes from Antakya handed down to Andreas Kiltsiksis, now lovingly served in Thessaloniki.

➢ 125 Mitropoleos

SALENTO

Thessaloniki discovered the charms of Salento in 2020, when this newly-opened eatery introduced a homemade slow-fermented dough inspired by the pucce of southern Apulia, and in particular the once-Greek region of Grecia Salentina. At Salento, the dough ferments for 72 hours before it’s baked in a wood-fired oven; the loaves are then split and filled. Classics range from slow-cooked pork with coleslaw and barbecue sauce to a seafood option with shrimp, iceberg, mozzarella, truffle cream, peppers and vinaigrette. Everything is mixed and cooked in-house – from the doughs to the fresh meats. Responding to public demand, the team has also added lasagna and salads.

76 Eleftheriou Venizelou

MAMA TEREZA

When Mama Tereza first opened in 1987, Thessaloniki’s street food scene revolved almost entirely around gyros and souvlaki. But this humble food truck quickly changed the game with a new late-night obsession – the pork belly sandwich. Operating exclusively after midnight, it became an instant cult favorite among the city’s night owls. “Before the pandemic, we used to hand out the bread and pork belly, and everyone would add their own toppings – it was almost self-service,” recalls owner Ierotheos Kritikos. Over the years, he perfected the cooking of pork belly, slicing it as thin as bacon so it crisps beautifully on the grill. Instead of a single slab of meat, each sandwich is stacked with three or four delicate slices that practically melt in your mouth. Guests can customize their sandwich with a wide range of add-ons – but the secret of its loyal following lies in the simplicity of those smoky, caramelized strips, served hot in the small hours of the night.

➢ 15 26is Oktovriou

ESTRELLA

When Estrella opened in March 2013, no one imagined it would redefine Thessaloniki’s brunch scene within a year. That’s when the café introduced the now-famous bougatsan – a playful hybrid inspired by the city’s traditional bougatsa. Picture a buttery French croissant filled with warm, fragrant custard made to order. “Our cream is always warm because we prepare it fresh for each bougatsan,” says co-founder Kostas Kapetanakis. The invention took off, soon spreading to Athens and earning a special mention in The New York Times in 2017. Today, Estrella operates ten locations across Greece, Cyprus and Portugal, serving a creative brunch menu that includes modern takes on local favorites – such as a Thessaloniki koulouri topped with soft scrambled eggs.

➢ 48 Pavlou Mela

CRATS

FRIED CHICKEN

Founded in 2021, the Greek chain Crats set out with a simple goal: to offer high-quality yet affordable comfort food made exclusively from locally sourced poultry. Today, its menu features around 40 items divided into three main categories – chicken wings, chicken fillets and chicken burgers. The chain’s signature dish is its premium burger, served on a buttery brioche bun with a double layer of crispy fried chicken fillet, available in several variations. One of the most popular is the Jalapenos Double Crats Burger, with bacon, cheddar, iceberg lettuce, tomato, jalapenos, mayonnaise and barbecue sauce. Beyond burgers, Crats offers everything from fried wing buckets and tortillas to bitesized chicken fillets – all prepared fresh and served in a flash ➢ 7 Aristotelous Square

AGAPI – FOR AUTHENTIC PIROZHKI

Since opening in 2006, Agapi has been delighting locals with homemade pirozhki prepared fresh every day, using dough mixed and shaped on the spot. In a small workspace tucked behind the cozy storefront on Chalkeon Street, the team kneads, fills and either bakes or fries each pastry to order, depending on the recipe. The best seller is the one filled with three cheeses, though the menu offers many other tempting combinations as well: spinach and cheese; chicken with mushrooms; red beans; minced meat; and potato with tomato and olive. Another house specialty is the khachapuri – the iconic Georgian cheese bread, made according to a cherished family recipe brought from Tbilisi when the owners moved to Greece in 1994. ➢ 21 Chalkeon

EXPLO R E MO R E:

SELECTED A R TICLES F R OM OU R WEBSITE

HIT THE ROAD – 4 EXCITING DAY TRIPS FROM THESSALONIKI

Pick your pleasures - these four easy excursions offer a Macedonian mix of glittering waters, grand wines, rare birds and natural wonders.

DISCOVERING METSOVO’S TIMELESS SPIRIT

At any time of year – but especially when snow falls or leaves turn gold – Metsovo beckons with warmth, heritage and mountain charm.

WEEKEND ESCAPE: KALAMBAKA AND THE MONASTERIES OF METEORA

A perfect weekend getaway: wander among Meteora’s cliffs, try Thessaly’s flavors, and uncover Kalambaka’s living history.

WHY

VOLOS IS PERFECT IN AUTUMN

The charming port city of Volos offers a bustling waterfront, elegant neoclassical façades and lively tsipouradika.

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The Coral is believed, since the ancient times, to hold protective and apotropaic power. A decorative motif of Minoan pottery, it adornes vessels of the Neopalatial period, mid-2nd millennium BC, Crete.