History and Tradition

Pico Island lace has deep roots in local history and culture. This craft tradition has not only played a fundamental role in the lives of the island’s women, but has also been an important source of income for many families over the centuries. The art of lace making, with its detailed and delicate techniques, has been passed down from generation to generation, perpetuating itself to this day and preserving a cultural legacy that continues to be a source of pride for the community.

Lace History

Lace production in Pico dates back several generations, and its origins have been directly linked to the need for women to find ways of making an economic contribution to their families. Initially, handmade lace production was an exclusively domestic activity, carried out in the family environment, where women passed on their knowledge to their daughters and granddaughters. This tradition was formalized during the 19th century, when Azorean immigration to the United States brought back more refined lace making techniques, adapted to local conditions.

During the 20th century, the practice of lace making was essential to the local economy. The lace makers began to collaborate with traders, who promoted lace exports to international markets. The ability to create delicate and unique pieces, often decorated with floral and geometric patterns, became a distinctive feature of Pico’s lace makers.

Durante o século XX, a prática das rendas foi essencial para a economia local. As rendeiras começaram a colaborar com comerciantes, que promoviam a exportação das rendas para mercados internacionais. A habilidade de criar peças delicadas e únicas, frequentemente decoradas com motivos florais e geométricos, tornou-se uma característica distintiva das rendeiras do Pico.

PICO ISLAND’S FIRST BUSINESSWOMAN

ROSA GARCIA

At the age of 20, she was the first businesswoman on Pico Island, selling lace.

At the time, she was advised to sign up as an entrepreneur at the Horta Chamber of Commerce and Industry, due to her high number of sales.

Rosa Garcia is a symbol of female empowerment on Pico Island, through the commercialisation of lacework and her dedicated efforts in education, particularly, and in driving the economic growth of many families on the island.

The First Female Job in the Azores
(Master Weavers)

In the 17th century, weaving was recognized as the first female job in the Azores.

Women who practiced this art were known as “master weavers” and played a central role in the production of textiles, using locally grown linen. This formal recognition gave women a prominent position in the rural economy, and weaving became one of the most respected jobs. The control of this activity was in the hands of the town councils, which regulated and authorized the weavers’ practices.

This activity was vital for the production of clothing and other fabric items, and it was from this practice that the lace tradition developed. The “masters” were responsible for teaching the weaving and lace techniques to the younger generations, keeping the tradition alive. The work of the master weavers laid the foundations for the inclusion of women in the craft labor market, a reality that would be consolidated in the following centuries with the development of other forms of handicraft.

Este trabalho era vital para a produção de vestuário e outros artigos de tecido, e foi a partir desta prática que a tradição das rendas se desenvolveu. As “mestras” eram responsáveis por ensinar as técnicas de tecelagem e renda às gerações mais jovens, mantendo viva a tradição. O trabalho das mestras tecedeiras lançou as bases para a inserção das mulheres no mercado de trabalho artesanal, uma realidade que se consolidaria nos séculos seguintes com o desenvolvimento de outras formas de artesanato.

Lace Maker’s NameLocationSpecialtyGenarationReference DecadeMain TecniqueFamous Products
Rosa Garcia (Rosa da Ponte)São MateusComercialização1ª1890-1920FarpaOrganizou produção
Maria AdelaideCalheta de NesquimTecelagem1ª1880-1910TecelagemMantas e Meias
Goretti da Maria do BezerraCalheta de NesquimRenda de Gancho2ª1940-1970FarpaPeças decorativas
Cecília Dias de MeloCalheta de NesquimRenda de Gancho2ª1890-1920FarpaPrimeira geração de rendas de gancho
Jesuína Margarida Garcia de LemosSão MateusRenda de Gancho2ª1900-1930FarpaColchas e peças decorativas
Maria Zulmira Raimundo de LemosSão JoãoRenda de Gancho2ª1900-1930FarpaColchas e toalhas
Maria Adelaide da SilvaSão MateusRenda de Farpa2ª1900-1930FarpaToalhas e peças pequenas
Clara Lemos FariaSão JoãoRenda de Farpa2ª1900-1930FarpaToalhas e colchas
Teresa PerdigãoLajes do PicoRenda de Agulha2ª1910-1940AgulhaPanos de mesa
Maria LucíliaSão MateusCroché de Farpa3ª1940-1970FarpaColchas, Toalhas
Norberta AmorimPiedadeRenda de Bilros3ª1940-1970BilrosToalhas de mesa
Silvina GarciaMadalenaRenda de Gancho3ª1940-1970GanchoToalhas e Naperons
Fátima AzevedoSão CaetanoRenda de Gancho3ª1940-1970FarpaTapetes
Maria Conceição GoulartSão CaetanoRenda de Gancho3ª1940-1970FarpaTapetes
Alice Costa MachadoSão MateusRenda de Gancho3ª1940-1970GanchoTapetes e Amorinhas
Liduína da Glória ÁvilaSão MateusRenda de Farpa3ª1940-1970FarpaColchas e toalhas
Teresa MargaridaSão MateusRenda de Farpa3ª1940-1970FarpaToalhas e colchas
Maria de Jesus MatosSão MateusRenda de Farpa3ª1940-1970FarpaColchas e Tapetes
NoéliaSão MateusRenda de Gancho3ª1940-1970GanchoAmorinhas e Margaridas
Maria da OlíviaSão Caetano……………
Maria do ErnestoCandelária……………
Mariazinha do FranklimCandelária……………
Maria IsildaCandelária……………
Maria Isilda do ErnestoCandelária……………
Mãe da JuditeCandelária……………
Esposa do João LinoCandelária……………
TelmaCandelária……………
Filhas da Francisca FerreiraMirateca……………
Maria do GonçalvesSão Mateus……………
AdelinaSão Mateus……………
Maria PalmiraSão Mateus……………
As “Mudas”São Mateus……………
HéliaSão Mateus……………
TelmaSão Mateus……………
HéliaSão Mateus……………
ReginaSão Mateus……………
HortênciaSão Mateus……………
Maria LeonorSão Mateus……………

The Influence of Convents on Embroidery (17th and 18th Centuries)

Female convents played a crucial role in the preservation and dissemination of crafts, including embroidery and lace, between the 17th and 18th centuries. In the Azores, convents such as Glória, in Angra do Heroísmo, served as learning centers for young women from wealthy families. There, women were educated in different subjects, including embroidery and lace making. The outcome was a combination of sacred and utilitarian art, which profoundly influenced the aesthetics of traditional embroidery.

The religious motifs found in the nuns’ work influenced the secular production of lace, with floral and geometric themes dominating the style. These practices continued outside the convent walls, with lace and embroidery being adapted for everyday use, but retaining the sophistication and detail they had been taught.

The Lace Evolution in Pico (19th and 20th Centuries)

During the 19th and 20th centuries, lace production in Pico went through a significant evolution. The introduction of new techniques, brought by immigration to the United States and Canada, resulted in an improvement in the quality of local lace. This period was marked by an increase in demand for handmade products, with lace being widely appreciated not only locally, but also on international markets.

In the 20th century, especially from the 1940s to the 1960s, the lace industry in Pico reached its peak. More than 500 women dedicated themselves exclusively to the production of lace, which became one of the island’s main exports. The lace makers worked in their houses or in small workshops, using simple tools but with extraordinary skills. The income earned from the sale of lace helped to support entire families, especially in times of economic and agricultural crisis.

The 20th century also brought the modernization challenge, with the introduction of sewing machines and the competition from industrialized products. However, Pico’s lace has continued to be valued for its authenticity and the handwork involved. Today, this craft tradition is preserved as part of the island’s cultural heritage, with ongoing efforts to bring the practice back to life and promote Pico lace as a symbol of identity and resilience.

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History and Tradition