Gerhardt Knodel has contributed to and reshaped the fiber arts for more than 40 years. Early experiences in theatre design resulted in his use of textiles as interior architecture. He has exhibited and taught around the world, and he is widely known for his numerous commissions for contemporary architecture. For 25 years he led the graduate program in Fiber at Cranbrook Academy of Art and subsequently was named the director. He now maintains a full-time studio practice in Pontiac, Michigan.

Inspired by her own cultural background, Majeda Clarke’s designs celebrate regional weave techniques and the identity of the maker. Whether in small batch production or entirely handmade she seeks sustainable, local production. All the designs deconstruct the geometry of weave while color and pattern are reconsidered in a fresh modern approach. She works closely with local communities such as UNESCO Jamdani weavers of Dhaka, renewing ancient techniques. Majeda's mill woven pieces also explore a lost weaving heritage which can be traced back generations. Her work has been exhibited extensively throughout Europe. She sells her work online and through commissions.

Handweaver Justin Squizzero challenges modern definitions of progress by creating functional textiles that celebrate the natural world and the dignity of human labor. Echoing a time when utilitarian objects were entirely handcrafted, his work connects material, maker, and user across time and place. Squizzero’s venture, The Burroughs Garret, draws on the textile traditions of his northern Vermont home, marrying natural dyes and fibers with a reserved aesthetic rooted in early New England. Produced on his 19th-century farm using 200-year-old hand looms, Squizzero’s textiles examine the role of handcraft in a post-industrial society, questioning the human experience in a digital age.

Jessica Pinsky grew up in Akron, Ohio and moved to Cleveland in 2011 after receiving a BFA in Studio Art from New York University in 2006 and an MFA in painting from Boston University in 2009. She began teaching at Cleveland Institute of Art in 2011 and is currently serving as faculty in the Sculpture and Expanded Media department. Together with Cleveland Institute of Art, Jessica founded Praxis Fiber Workshop in June 2015.

William Storms is a mathematically driven craftsman who moonlights as a Hand Weaver and daylights as a full-time Jacquard Designer for Crypton Fabric's recently acquired Mill in NC. His handwoven work is an ongoing effort to produce three-dimensionality, in a traditionally two-dimensional world. Combining collapse weave structures with pliable soft metals and Passementrie techniques, Storms is still on a mission to discovering his formula.

Deborah Jarchow is a full time weaver and artist who teaches and lectures on fiber arts, creates and sells wearable art, and has exhibited her work at galleries and museums across the United States. Her commissioned pieces are held by churches as well as many private collections. Deborah loves helping people discover the joy of weaving and during the past several years, has focused her teaching mainly on rigid heddle looms. She travels extensively to share her weaving enthusiasm and expertise. As a nationally recognized teacher, she is known as a generous educator who makes weaving accessible, exciting, and fun for students of all levels.

Boisali Biswas studied at the International University of Vivsa-Bharati in India. This university was founded by Nobel Laureate Rabindranath Tagore and has a profound impact on her work. She completed her MFA at Bowling Green State University  The subject of her work is her own life experiences, thoughts, and surroundings. Living in this country for over three decades, and adapting to Western styles and inspirations in concert with her background, has made her art into a cauldron of multicultural assemblages that are unique and a feast for the eyes. The issue of belonging is meld through her art.

Elin Noble has a BFA in fiber from University of Washington and studied art history in Florence, Italy. She is the author of Dyes & Paints: A Hands-on Guide to Coloring Fabric. As the former lab Manager at Pro Chemical & Dye, she has a vast understanding of dying. She has exhibited extensively and won a variety of awards. She has appeared on PBS, lectured and conducted workshops throughout North America and internationally. She has lived and traveled all over the world and currently resides in Massachusetts.

Dawn Edwards is a felt artist and tutor based in Plainwell, Michigan. She sells her work under the label ‘Felt So Right’ and teaches extensively within the USA and internationally. Her felt art has appeared in numerous exhibitions, shows, magazines and books, including Ellen Bakker's book Worldwide Colours of Felt, several issues of the Australian FELT Magazine, the International Feltmakers' Association Felt Matters journal, HGA's Shuttle, Spindle & Dyepot, the Russian magazine Felt Fashion. Most recently several of Dawn’s beaded felt hats appeared in the International Feltmakers' Reconnect Exhibition.

Bhakti Ziek is internationally known for work that has ranged from backstrap weaving to digital jacquard weaving. She has a M.F.A. from Cranbrook Academy of Art, a B.F.A. from the University of Kansas, and a B.A. from SUNY at Stony Brook. Bhakti has lectured and taught workshops throughout the United States and abroad. Her writings on contemporary fiber have been published in many journals, including American Craft, Surface Design Journal, and Fiberarts. She is the co-author, with Alice Schlein, of The Woven Pixel: Designing for Jacquard and Dobby Looms Using Photoshop; and she also co-wrote Weaving on a Backstrap Loom with her mother, Nona Ziek. Her extensive exhibition record includes work in the permanent collection of Princeton University (Princeton, NJ) and the Museum of Arts and Design (New York City, NY). A former college professor, she now offers private workshops in her Santa Fe, NM studio.

Char Norman is an accomplished fiber artist specializing in papermaking and fiber sculpture. She received a Master of Fine Art from Claremont Graduate University and a Bachelor of Art from Scripps College. She has lectured and exhibited extensively both nationally and internationally. She has developed and conducted workshops for all ages, worked as a consultant to area schools and community arts organizations, and served as a trustee for Greater Columbus Arts Council. Char held the positions of Associate Provost and Dean of Faculty at Columbus College of Art & Design and has now returned to the studio as a full-time professional artist.

Jennifer Moore holds an MFA in Fibers and specializes in exploring mathematical patterns and musical structures in doubleweave wall hangings. She has exhibited throughout the world, receiving numerous awards for her work, and has been featured in many weaving publications. Jennifer lives in Santa Fe, New Mexico, and travels extensively to teach workshops in doubleweave, color, and geometric design. Jennifer was invited to teach doubleweave to indigenous Quechua weavers in Peru in 2013, where they are once again excelling in this technique which had been discontinued after the Spanish conquest. She is the author of The Weaver’s Studio: Doubleweave, several doubleweave videos and online courses, and numerous articles.

Margo Selby is a renowned British textile artist and designer. Her design philosophy is focused on pushing the boundaries of weaving to create contemporary stylish fabrics for a range of textile applications, uniting the very best weavers and high-quality fibers to produce beautifully crafted products.

Melanie Olde’s weaving practice is continually driven by curiosity and new learning. Her love of weaving started early, growing up on a goat farm with an engineering father and a mother involved in industrial textiles. At 18 Melanie went on to study jacquard weaving at Fondazione Arte della Seta Lisio in Italy at 18 and completed her BA in Textile at the Australian National University in 2002. Her work explores new technology and old, with research interests in biomimetic and mathematical forms, and interpreting these in 3-dimensional loom-woven cloth, including embedded technology and new materials. She also has a keen interest in the history and development of complex woven structures in Asia. Melanie’s professional weaving experience has been in business, research, teaching and exhibiting nationally and internationally. Recently, she has been involved with the Complex Weavers, winning first place in Complexity (2020), and published articles for the Complex Weavers Journal.