At a time when authenticity and craftsmanship are regaining their value, a traditional technique is making a dynamic return. The delicate and intricate lace-making art of Salamina, known as kopaneli (bobbin lace) was inscribed in March 2026 in Greece’s National Inventory of Intangible Cultural Heritage, an important development that opens new horizons for the renewed prominence of Greek lace on the international stage.

From the famed Flemish and French laces that once adorned Europe’s royal garments to the creations of leading fashion houses today, handmade lace has long held a prominent place in haute couture, lending both artistic and cultural value to textiles.

Greek lace-making boasts a rich tradition and a well-documented presence in international collections. Pieces from Naxos, Kythnos, and the Ionian Islands are preserved in the collection of the Victoria & Albert Museum in London. Particularly prominent in the collection, however, are Cretan laces, most of them crafted using bobbins: small wooden tools around which threads are wound. For decades, this technique formed an integral part of everyday life in Crete, especially in Hania (in Gavalochori), where it remains alive to this day.

The tradition is also found in other regions, including the Dodecanese and islands of the Saronic Gulf, with Salamina recently earning a significant distinction. Thanks to an initiative by the Association of Traditional Arts “Salaminian Artistries,” the kopaneli technique has been officially recorded for the first time in the National Inventory of Intangible Cultural Heritage.

“This important institutional recognition does not simply honor a technique; it honors memory, female creativity, and collective effort,” notes the association’s president, Kalomoira Kouki. “The association offers classes for all ages under the guidance of experienced craftswoman Despina Palla. Those interested in learning the secrets of bobbin lace can take part in the workshops. Our goal is to pass this knowledge on to younger generations and to connect craftsmanship with sustainable local production.”

Croatia, Slovenia, Salamina

“This is a long-standing women’s tradition on our island,” says Nena Papageli, cultural manager and scientific advisor to the association, who compiled the dossier for the National Inventory. “The 45 currently active lace makers of Salamina are at the forefront, proving that knowledge shaped by human hands can gain new momentum. This recognition validates the quiet, sustained effort to document and evolve kopaneli, ensuring it continues to be taught and to inspire. The – still limited – presence of men also signals that the craft is no longer seen as traditionally female.”

The association is now developing a structured plan to promote its products – from jewelry to functional and decorative objects – as well as collaborations with museum shops. The next goal is international recognition and inscription on UNESCO’s List of Intangible Cultural Heritage. To date, only two bobbin lace traditions have been included: Slovenia’s Idrija lace (2018) and Croatia’s Lepoglava lace (2009).

“The Way Our Grandmothers Taught Us”

But how is this demanding technique experienced in practice? Instructor Despina Palla explains: “Salamina’s technique differs from those of other regions in its weaving method, mainly due to the large number of bobbins – up to 60 pairs – as well as the use of gold thread, which gives it a distinctive identity. It requires focus and precision. A single mistake can undo hours of work.” She sits down, placing a large cylindrical cushion on her lap. The pattern is pinned onto it, while dozens of threads hang from the wooden bobbins. Her hands move at such speed that it is almost impossible to follow how this intricate web of threads gradually transforms into something so delicate.

“You can hardly keep up with the movement – and yet, this is exactly how our grandmothers showed us, and how we learned,” she adds. What once formed part of everyday life for women of earlier generations is, in fact, an impressively complex body of technical knowledge – one that has even become the subject of academic research at the National Technical University of Athens. The art of bobbin lace-making has been studied and translated into a system of computational rules capable of digital simulation, as part of the research project Making Grammars for Computational Lacemaking by Katerina Lamprou, under the supervision of Associate Professor Sotirios Kotsopoulos.

“The art of bobbin lace can be understood and represented through a structured computational framework of rules, making it possible to transmit it to a wider audience,” the professor notes.

Tradition and Fashion

Beyond its scientific interest, the real question is how this traditional technique can find its place in contemporary fashion. At a time when craftsmanship is being redefined, how easy can a meaningful dialogue emerge between tradition and modern design – between artisans and fashion designers? Orsalia Parthenis, President of the Hellenic Fashion Designers Association and Creative Director of Parthenis, explains: “I believe the time has come for Greek craftsmanship to claim its rightful place in contemporary fashion. International houses such as Dior have already embraced this dialogue, placing artisanal skill at the core of their creative process. In Greece, we have a rich tradition and technical expertise that deserves to become part of our modern design DNA. It is important to highlight the artisans themselves and their craft, so that this valuable knowledge remains alive. Through craftsmanship and attention to detail, we can redefine the way fashion is produced, moving away from the logic of mass industrial production. For us at Parthenis, a house that has invested in quality and detail for 50 years, this connection is a natural extension of our philosophy.”

If, for those in the fashion world, craftsmanship is a source of creativity, for folklorist Aikaterini Kamilaki – former director of the Research Centre for Greek Folklore at the Academy of Athens and member of the Ministry of Culture’s Intangible Cultural Heritage Council – it is also a key pillar of local development. “Craftsmanship is not merely the production of objects; it is a carrier of memory and cultural continuity. Handmade products create jobs and support local communities. The case of Salamina demonstrates how craftsmanship can function as a driver of community empowerment.”

With a targeted strategy for promotion, Salamina could evolve into a cultural destination, following the example of other European regions such as Burano in Italy and Alençon in France, where lace-making traditions form a core element of identity and outreach, through schools, festivals, exhibitions, museums, and workshops that attract visitors from around the world. Until then, the women of Salamina invite us to their island to discover how a small, united community can transform a traditional craft into a force of creativity and claim its place on the global map of craftsmanship.