In Portugal, crochet is deeply tied to religious and folk traditions. The use of fine crochet lace to decorate church altars and household linens became especially common in the 19th century. One notable figure was Maria Augusta Bordalo Pinheiro, who helped modernize traditional Portuguese lace techniques. In regions like Peniche, women combined crochet with lace-making skills, creating intricate doilies and altar cloths. The craft remains an emblem of care, patience, and devotion — often passed down quietly from mother to daughter.

Irish crochet lace developed in the 19th century as a form of accessible, handmade lace during a time of hardship. During the Great Famine (1845–1852), it became a source of income for thousands of Irish women, taught in convent schools and lace centers. Its signature style — raised floral motifs joined with fine mesh — is still admired for its delicacy and complexity. Irish crochet is not only a heritage technique but a quiet symbol of resilience and community.

Brought by European immigrants in the late 19th century, crochet quickly flourished in Brazil, blending with Afro-Brazilian and Indigenous textile traditions. It evolved into a colorful, expressive art form found in clothing, home décor, and large-scale installations. The town of Inconfidentes, in Minas Gerais, is today known as the “Crochet Capital of Brazil,” home to a vibrant community of artisans. Brazilian crochet stands out for its joyful color palettes, floral motifs, and the strength of the women who preserve this living tradition.

The word “crochet” originates from the French word for “small hook.” In the 18th century, a technique called tambour embroidery — worked with a hook through fine fabric — became fashionable in France. In the 19th century, French-Irish designer Mademoiselle Riego de la Blanchardière published some of the first crochet patterns, popularizing the craft throughout Europe. Crochet became both a pastime and a refined domestic art, appearing in collars, cuffs, and decorative lace.