An excellent, detailed article about the Karagouna and their costumes may be found here: http://folkcostume.blogspot.com/2013/10/costume-of-karagouni-thessaly-greece.html
One of the most famous traditional costumes is the Karagouni costume, which is found in scattered Karagouni-villages, generally in the Thessaly plain, Karditsa and west, northwest outside Trikala and Kalambaka, as well as to the north to Tirnavos and Larissa. To the east it reaches Farsala and south to Domokos. The Karagouni costume has three different variants in the area of the Thessalian plain. The costume of Karagouna from Sofades, Palamas and the surrounding villages, of Karditsa and Trikala and the costume of Agia Kyriaki and Megala Kalyvia. The female Karagouni costume consisted of the shirt with the handcuffs, the cervix, the shorts (Karditsa) or the chakushaia (Trikala) or the Kavadia (Sofades-Palamas), the Kavadomanika (Karditsa and Trikala) or Sigouni (Sofades and Palamas), flokatha (Karditsa and Trikala) or flokatos (Sofades and Palamas), the tsirepia and the ribbons.
We have that translation, thanks to Bill Jones, who enlisted “Christina Callos, leader of the Opas dance group (mainly older folks of Greek and non-Greek background) I belong to at the local (Cleveland area) Sts. Constantine & Helen Cathedral. Christina was born and raised in the Peloponnesus (just south of Thessaly region which we’re talking about). She immigrated to the US to marry. Most of her family still lives in the Peloponnesus.” Here’s Christina’s commentary:
“This is not a formal translation of the audio on the video you directed me to.,
The woman next to the moderator is Mary Theologi from Karditsa (smack in the heart of Thessaly).
She’s been collecting these costumes of the Karagouna ethnic group for 58 years. They are all authentic or antique costumes which were made by women who spun the wool and so forth.
The oldest costume is the third one from the start of the line (see it at 5 minutes, 39 seconds area) which is from 1820.
Ms. Theologi would dearly love to build a museum for the costumes. They have been used by various scholars as resources for various purposes.
The three comparatively young girls at the end of the line (6m40s) in mainly white, simple costumes which identified the wearer as not married so that at the appropriate gatherings, males could consider them as potential wives and begin haggling with their fathers for the women’s hands. Theologi then goes into a short digression describing somewhat humorously what these discussions were like in terms of the prospective husbands’ land, animals, etc. One even calls out the fact that one of his cows is pregnant so he will soon have another cow.
The next three costumes, moving towards the beginning of the line, with green, red and blue armless dresses, are Easter costumes.
All the costumes have symbolic aprons, head wear, jewelry, etc. that are freighted with meaning, not explicated here.”
Not everything discussed in the video but the main points it seems for Christina.
Folkdance Footnotes 