Lace of Bobbin of Vila do Conde
memories intertwined in networks
The interest and love for the delicate dance of the bobbins, which shapes the lace of Vila do Conde, involve the entire local community. Documents from the 17th century already highlighted this tradition, notably on May 4, 1616, when the Minutes of the Council Session underscored the importance of the regional lace center and the recognition of the craft of the lacemakers. With more than 400 years of history, the bobbin lace remains a symbol of art, tradition, and dedication, intertwining generations.
The production of bobbin lace was concentrated in the parishes of Vila do Conde, Azurara, and Árvore, where community and religious life intertwined with the laces, essential in celebrations and daily life. In 1616, the lacemakers were summoned to join the group of seamstresses to contribute to the “girls’ folly” in the Corpus Christi procession, a large parade that showcased the powers and prominent professions. Those who produced lace gained social relevance, contributing to the economic development of the city.
However, in 1749, a regulation by King John V banned the use of lace in Portugal, in an attempt to moderate luxury and promote economic self-sufficiency. This blow deeply shook Vila do Conde, but, thanks to the intervention of local politicians, trade for domestic paraphernalia was authorized four months later, and in 1751, King Joseph I also liberalized the production of garments and the national commercialization of lace.
In the 19th century, Vila do Conde and its lace achieved international projection, with distinctions at world-renowned exhibitions. In 1881, the city had 1200 active lacemakers, consolidating itself as a reference hub in the craft of bobbin lace. The 20th century brought challenges with industrialization, foreign competition, and social changes. The quality of the lace suffered, and the designs produced began to be less appreciated, but the art remained alive in large workshops, like Casa Flores Torres, which, in 1914, employed about 200 lacemakers.
In 1919, the Lace School was created to ensure the transmission of techniques and the improvement of product quality. The institution formalized the teaching of the art of bobbin lace, a fundamental pillar for the continuity of the tradition. These efforts, however, were not enough to contain the decrease in the number of lacemakers and the closure of workshops until 1975. Faced with decline, the lacemakers opted to work independently. In the last 30 years, the Vila do Conde Craft Fair, initiated in 1978, the foundation of the Association for the Defense of Craftsmanship and Heritage in 1984, and the inauguration of the Bobbin Lace Museum in 1991, have been fundamental in preserving and revitalizing this cultural expression.
Currently, the craft fair, which attracts more than 400,000 visitors a year, and the Lace School, located in the Bobbin Lace Museum, are pillars in training, exchange, and perpetuation of the tradition of bobbin dances. In 2015, the lace of Vila do Conde was certified and a record was set with the creation of the world's largest bobbin lace, produced by 150 lacemakers and symbolically hoisted on the Nau Quinhentista. The giant lace measures 53 square meters and was made with 8 kg of thread and 437 pieces of 30x30 centimeters unified. Today, the bobbin lace of Vila do Conde integrates into different contexts, being applied on various surfaces. This legacy, which spans centuries, continues to enchant and inspire new generations. The laces remain a symbol of identity, resistance, and creativity, enhancing the richness of Portuguese cultural heritage.
