Instructors for Braids 2025

Joy Boutrop, Denmark

Joy Boutrup is a textile engineer and associate professor emerita in textile chemistry, dyeing and finishing. She has been teaching materials and textile technology at the Danish design school in Copenhagen and Kolding for more than 30 years. She also teaches extensively overseas in Scandinavia, USA, Canada, Australia, Japan etc. She has been interested in braiding since childhood and the books of Noémi Speiser gave new life to this. Since then loop braiding in particular has been her main spare time occupation. Her interests concentrate on the technology history of braiding, comparing different braiding instructions, their interpretation, and study of actual braids in different collections.

Class 2D5 European loop braiding

Katherine Buenger, USA

Katherine is a jewelry and textile artist from Minnesota.  Her work encompasses many fiber-related art forms, including weaving, spinning, ply-splitting and braiding with Sami tin thread.  Katherine is also an experienced instructor teaching at the Weavers Guide of Minnesota, Midwest Weavers Conference, White Bear Center for the Arts, Marine Mills Folk School and AKS amongs others.  Her work has won awards at the Minnesota State Fair and has been featured on the cover of the Bead & Button Magazine.   Katherine holds a degree in studio arts from Macalester College, St Paul, MN.

Class 1D23 Tin thread necklace and bracelet with beads

Class 1D31 – Double wrap necklace and bracelet


Jacqui Carey, UK

Jacqui is a maker, teacher, author and researcher of braids, having specialized in the subject since graduating from a BA(Hons) degree in woven textiles in 1985. She has since shared her knowledge through teaching, and made it more widely available through numerous publications. Creative concepts such as those found in Creative Kumihimo (1994), Beads & Braids (1999) and The Book of Braids (2014), illustrate how she has pushed the boundaries beyond the traditional.

In the early 90’s, Jacqui helped establish the Braid Society, and organized their first exhibition entitled ”Samurai Undressed”, based on her research into the historical development of Japanese braids, and inspired by Masiko Kinoshita’s ground-breaking work that introduced the world to kute-uchi. In 2020, Jacqui updated the exhibition’s original monograph, presented new research and revealed the process of analysis in her book Samurai Redressed.

Class 2D8 – Kute-uchi kikko



Claire Cassan, France

Claire is a Textile Artist with a deep love for Japanese Crafts. She practices Kumihimo, Temari and Nuidoand. She combines her software and braiding skills to help make Kumihimo accessible to a larger audience. Claire’s kumihimo journey began in 2006 with Jacqui Carey’s book ‘Beginners Guide to Braiding’. Then she found a class in Houston, taught by Giovanna Imperia. The feel of the silk and wood, the sound of the tama, the textures and colors, the meditative rhythm… it was pure pleasure. Three years later, in June 2009, Claire decided to take additional classes on the Takadai with Giovanna at her Houston studio.

In 2011 she moved back to France but continued braiding and opened her Kumihimo and Temari studio in Bénéjacq where she holds demonstrations and classes. She regularly participates in exhibitions and events to promote Japanese Textile Arts in France.  In 2020 she released a book on Nimai Kourai Gumi, along with a Web App to plan braids and learn the technique.  There is a second Web App to plan single layer braids on the Takadai. Her latest Web App was released in 2023, to plan color combinations for Kikko on the Marudai and Takadai.

Class 1D26 –Temari balls design




Lyn Christiansen, USA

Lyn Christiansen combines fiber and mosaic elements in collages often with a story to tell. Her pieces are supplemented by paper, paint, video, and sound.

She is a full-time artist working in her studio in the Waltham Mills, Waltham, MA. She teaches, writes, and curates with a focus on Kumihimo Japanese braiding and self-expression through creative experiences.

Her work has been exhibited throughout the U.S. and Internationally.

Class 1D19 – Thinking out of the box

Class 1D27 – Fancy tassels


Ingrid Crickmore, USA

Ingrid enjoys learning and teaching traditional and original loop braids and loop braiding methods, using both finger-held and hand-held loop braiding. She teaches loop braiding workshops through various venues, and has taught advanced loop braiding topics at two prior International Braid Conferences, 2012 and 2016. Her website Loop Braiding ( has free tutorials and historical information about loop braiding.

Class 2D7 – Tubular finger-held loop braids 



Gil Dye, USA

Teacher of bobbin lace and other lace techniques – regular weekly classes and residential courses by invitation.

Past member of the Lace Guild executive committee where roles included:
Working with others to prepare a City and Guilds lace qualification;
Drafting the paperwork that led to full museum registration for the Guild’s collection;
And writing Silver Threads and Going for Gold, a history of the first 25 years of the Guild.

Member of the Creative Lives, Advisory Group and the All Party Parliamentary Group on Craft   Author with Jean Leader of Lace Identification, a Practical Guide. Also author of bobbin lace instruction and pattern books including a series of five books on 16th and 17th century bobbin lace. Plus numerous articles on lace and related topics for lace and braid society publications.

Class 2D2 – Have bobbins will braid



Elliott Evans, USA

Elliott started learning marudai braiding in 2008, mostly from books, after making his own braiding equipment.  He was able to refine his skills by taking two workshops with Rodrick Owen when he was traveling to the USA regularly. In 2016, he was selected to travel to Japan to record an episode of the “Nippon Ikitai”. His trip to Japan was mostly about eboshi hats, but he spent a day in Makiko Tada’s studio
learning kute uchi hand-loop braiding.   In 2017 he attended the AKS Gathering in Tampa and studied with Makiko Tada, Rosalie Neilson, and Bob Gallivan. This was followed by Braids 2019 in Iga, Japan

Most of his teaching has been through my activities in the Society for Creative Anachronism. He has taught or demonstrated braiding almost every year for the past ten years at the annual Pennsic War event in August. He also teaches at more local and regional events.  In 2018, he was inducted into the SCA’s Order of the Laurel, which is the highest honor bestowed on those who research, practice, and teach medieval crafts. He has written, designed, and produced all of his own teaching materials.

Class  1D8 Elliott Evans –  Odd braids for the Marudai




Terry Flynn, USA

Terry is a textile artist and art educator who creates garments, accessories and sculptures that combine her interests in braided, woven and knitted textiles. Terry has a deep interest in the braiding traditions of Japan and the Andes with a focus on research, teaching and contemporary applications for braids.

When she began braiding on the takadai in 1994, there was nothing written in English and few patterns available. While her teacher, Rodrick Owen, was fascinated with Nimai-Kourai-gumi, Terry learned the basics but then began to experiment with converting the structures she understood from hand weaving to takadai. She explored the drape possible in takadai braids and used them in garments and in scarves. While learning to make Andean headband braids, she saw some similarities to takadai rep braids and played with converting some of these designs for takadai. This included using heddles for controlling bands of color. That is an ongoing interest along with experimenting with color and fiber choice.

Terry has co-authored two books with Rodrick Owen, Andean Sling Braids, New Techniques for Textile Artists (2016), and Sling Braiding Traditions and Techniques from Peru, Bolivia and Around the World (2017). Her video, Beginning Braiding on the Marudai, (2020) is available from Taproot Video

Class 1D2 – Andean headbands on the takadai

Class 1D10 – Designing cloth and accessories with braids



Bob Galivan, USA

When Bob was asked about his history with braiding this is what he told us: “I’ve always enjoyed working with my hands; I came to braiding by accident in 2010 through a beaded braid class with Adrienne Gaskell.  I became enamored with braiding (not so much with the beads…), pursuing a course of study on my own and with several instructors, including Sensei Makiko Tada and Rodrick Owen.  I visited Japan on Kumihimo trips several times and was on the faculty for the International Braiding Conference in Iga, Japan.  I taught at the Bead and Button Show from 2017 until 2020 and on many occasions for the South Florida Jewelry Arts Guild. I’m currently active in Jane Peterson’s Cleveland Kumihimo Study Group. My interest in Andean braids arose during my second seminar with Sensei Tada in Miami, Florida, where she “decided” that I would learn that style. After my somewhat involuntary introduction to the technique, I continued exploring it more deeply. I work with Japanese (Kumihimo) and Andean braid structures, exploring techniques specific to each style and hybrid techniques that combine the structures. I also work with dimensional structures and braids made using alternate materials, including thin-gauge wire, esoteric yarns, and other non-traditional materials. In addition to braiding, I experiment with tablet weaving, wire crochet, Viking knit, and chain-making as independent crafts, and incorporate into my braids”

Class  1D22 Andean braids boot camp

Class  1D30 Anda Gumi with beads


Adrienne Gaskell, USA

Adrienne Gaskell loves living in the warm climate of St. Petersburg, Florida.  After twenty years as a marketing sales executive, she has crafted a second career in jewelry fabrication and instruction. In a field that has become, fairly predictable, her unique combination of kumihimo braiding, bead weaving and metal fabrication techniques place her extraordinary pieces in a class of their own.

Being raised in a family of engineers means that she is driven by the need for the process to be technically interesting. It is what first attracted her to kumihimo braiding, now one of the predominant techniques used in her work. Adrienne attributes a love of, and background in textile arts for her exciting color combinations, one of the trademarks of her work. Her mother, who taught her needlework and how to make her own clothing, was fond of saying that Adrienne was born with a needle in her hand. “When I first discovered beadweaving I realized that all the years of working in needle arts were a great preparation for some of the techniques I use in my jewelry. So many skills from my past influence my work today.”

Class 1D6 Adrienne Gaskell – Beaded fob necklace

Class 1D14 Adrienne Gaskell – Asatsuyu gumi



Sarah Goslee, USA

Sarah Goslee is devoted to understanding how things work. She has turned her analytical skills to understanding textile structures, the more complicated the better: especially tablet weaving, but also sprang, braiding, ply-split, and everything else.

Sarah Goslee has been teaching fiber arts for nearly thirty years, for both reenactment groups and modern organizations including a number of online classes for the Braid Society.  She is also the co-founder and co-chair of the Archaeological Textiles Study Group for Complex Weavers

Class  2D11 Sarah Goslee –  Digging into diagonals

Michael Hattori, USA

Michael Hattori began his study of kumihimo in 1979 during a year abroad at Waseda University in Tokyo,  through a serendipitous connection with the famous Dômyô school via his homestay family. Kumihimo was instantly a passion for him, and it has become a nearly lifelong study.

In 2000 he met Richard Sutherland, who had organized a once-in-a-lifetime gathering of Japanese kumihimo masters in San Francisco. At that event, Michael met and began studying with Makiko Tada. Shortly after that, he also met the Andean and Kumihimo master, Rodrick Owen at the yearly workshop in Ft. Bragg, California.

Since then he has studied all forms of kumihimo, centering on takadai and marudai braiding, and braid reconstruction. He has taught at numerous conferences and written several articles on kumihimo. He is also currently doing iconographical research on the history of kumihimo, with plans to write a book. Michael has several instructional videos on YouTube.

He has been a Registered Nurse for 26 years and will be retiring in June 2024. He plans to spend as much time as possible in Japan furthering his kumihimo knowledge and skills!

Class 2D1 – Ayatakedai

Julie Hedges, UK

Julie is an experienced weaver, braidmaker and teacher who has been researching and developing the technique of Ply-Split Braiding since 1991. She has published four books on the subject and has taught Ply-Splitting methods in workshops and at conferences worldwide. She is member of The Braid Society and over the years has been, President, Chair and Editor of Strands.

Class 2D3 – Ply-Split Braiding in two or three planes to make twisted braids



Carol James, Canada

Carol James has been exploring low-tech textile methods for 30 years. She has examined sprang items in collections across the US and Europe. She developed a system to chart sprang patterns and these charts have allowed her to successfully replicate a number of historic textiles. She has also created modern garments deemed worthy of the Handweavers Guild of America fashion show.

Carol has taught in Canada, the US, Europe, and New Zealand. Students describe her as patient, knowledgeable, and passionate. She spent her COVID time writing instruction sheets and charting sprang lace designs, including the lace designs in a collection of Dutch Sashes as well as many sprang lace pieces from the Brussels Art and History Museum collection. She is the author of numerous articles, 4 books, and 2 instructional DVDs.

Class 1D20 – Exploring interlacing

Class 1D28 – Advanced interlacing exploration



Katoko Kitade, Japan

Katoko graduated from Joshibi University of Art and Design, and presided over Studio KATOKO. She is a former part-time lecturer (2008-18) at Edogawadai Prefectural University.  Katoko has participated in many solo and group exhibitions, while teaching a number of workshops. She has  been working on PLY-split braiding for over 20 years.  Katoko taught at Braids 2019 and Braids 2022.

Class 1D7    How to end cords

Class 1D15  3D necklace


Facebook: katoko kitade or  北出香都子
Instagram:  katoko kitade or 北出香都子

Annie MacHale, USA

Annie MacHale first discovered the inkle loom as a teenager in the 1970’s, sparking a life-long love affair. In the years since then, she has woven and sold thousands of bands as useful everyday items. Through these practical experiments, she has deeply explored the use of color and pattern in plain weave and several pickup techniques.

Annie is known to many through her blog, The popularity of her patterns shared there has led to the 2019 publication of a book, “In Celebration of Plain Weave: Color and Design Inspiration for Inkle Weavers”. This was followed by another book in 2021, “Three-Color Pickup for Inkle Weavers: A Modern Look at an Ancient Baltic-Style Technique” in which she shares a rare, older Lithuanian technique which has fallen out of use.

She loves to share her enthusiasm by teaching at weaving centers, guilds, and conferences around the U.S.  She has written several articles for magazines and websites, including one which was incorporated into the Ashford Inkle Loom manual.

Class 1D25 –  Three Color pickup


Websites: ( weaving blog) (product website & photo gallery)

Jean Leader, UK

Jean started making braids over 30 years — tablet woven, inkle loom, and even some sprang. Then she discovered bobbin lacemaking and, apart from a few kumihimo workshops that became my main textile interest for quite a while. In addition to teaching lacemaking, she has written books about lacemaking, and have taken an active part in lace organizations in the UK and USA.

Over the past ten or so years Jean has been making more braids and also trying to find time to spin and weave. She is fascinated by all the different ways in which threads can be combined to make beautiful braids.

Over the past 10 years she has taught braiding for some Scottish Guilds of Weavers, Spinners and Dyers, at a Braid Society weekend, for the online Braids and Bands group, and at the Braids conference in 2022.

Class: 1D3 Jean Leader – Sling braids

Class 1D11 Jean Leader –  Cross warp braids



John Mullarkey, USA

John Mullarkey is passionate about teaching tablet weaving, and he loves to push tablet weaving beyond its customary limits to create original and surprising interpretations of traditional structures and designs.  He is a nationally recognized teacher, valued for the patience, clarity and organization he brings to his classes.

Class 1D4 – Warping unusual yarns

Class 1D12 –  Design your own band



Rosalie Neilson, USA

Rosalie Neilson has been making kumihimo braids for more than 35 years. In 1980, she visited a Tokyo kimono factory, became enamored with kumi braids, took a private class, and came home with a marudai, kakudai, and two instruction books written in Japanese. Throughout the years she has developed into a true master of the art with exquisite designs using both color and geometry.

“My love of color comes from being raised in Oregon. During the majority of the year, nature appears in shades of green, blue, and grey. In this softly lit environment of neutrals, bright colors stand out in sharp contrast.” And so they do in her braids.

Her love of color doesn’t stop there. She was intrigued by the number of ways a braider could use two colors with the Hira Kara Gumi braid and began exploring each one. In 1998, after 18 years of exploration with this braid structure, Rosalie, with the help of her mathematically inclined brother, documented and published the Thirty-Seven Interlacements of Hira Kara Gumi. This was followed by the Twenty-Four Interlacements of Edo-Yatsu Gumu. A third book Kongo Gumi – A Cacophony of Spots – Coisl – Zags – Lines was published in 2013 and documents all 1,157 variations of the 16-strand Edo-Yatsu using just two colors. These are true labors of passion and kumihimo love!

Class 2D6 – Kongoh as influencer of Naiki



Ikuyo Nishi, USA

Ikuyo has been braiding Kumihimo for 35 years, mainly Marudai and Takadai. She is a certified lecturer at the Kumihimo Society and has conducted numerous workshops at the Kumihimo Society. She was also awarded the title of Takumi by Tokusaburo Hirosawa and is a member of the Tokusaburo workshop. She presides over Kumihimo classes and is vice president of the Kumihimo Society.

Class 1D32 – Sippo lace and forked


Carolyn Oliver-Haushalter, USA

Carolyn Oliver Haushalter first learned kumihimo in 2006. Three years later she began teaching, working with students from all over the world to share her love of the art. Her classes for improving your marudai skills and taking a new approach to classic kumihimo books are available through The American Kumihimo Society,

She has taught classes for the 2018, 2020, 2022 and 2023 American Kumihimo Society Gatherings and the 2021 Pittsburgh Creative Arts Festival, as well as bead stores and societies. She runs the popular information site https://topcenter typepad com/blog/ and had a pattern published in the Bead & Button Magazine Kumihimo special issue.

Class 1D5 Carolyn Oliver Haushalter – Ju-Yon

Class 1D13 Carolyn Oliver Hauslhalter – Seamless transitions




Errol Nelson Pires, USA

Erroll Nelson Pires has been studying the techniques of ply-split braiding found in the camel girths of Western India under the able guidance of Master Craftsperson, the late Shri Ishwar Singh Bhati of Jaisalmer, Rajasthan. Erroll graduated in 1975 in Textile Design from the National Institute of Design (NID), Ahmedabad. He is a long-time teacher and has taught at NID for more than 27 years and retired in 2011. Post retirement, Erroll has been visiting faculty at most design schools in India and has conducted successful workshops at the 2nd and 4th international braiding conferences organized by the Braid Society. Erroll’s breakthrough has been creating one-of-a-kind seamless wearable dresses and he has had six exhibitions, with a seventh being planned.

Class 2D9 – Seamless sling bag


Facebook: Erroll Nelson Pires

Ziggy Rytka, UK

Ziggy Rytka first encountered Lucet in a museum in Coventry in the early ninties.  Within six months he had developed a fastgrab method of lucetting and redesigned a lucet to match the technique.  Ziggy also invented a lucet bobbin to carry a skein and lock the lucet.  In the fext few years he developed the “Ziggy Stitch Technique” whereby it is possible to manipulate 2,3 or multiple bobbins to create 2 and 3 dimensional shapes.  Ziggy wrote several books on advanced lucetting.  He has taught and lectured in various countries for 30 years and has appeared on television for 12 years demonstrating lucets.

Class1D17 – Lucet, from Vikings to Victorians, a passion part 1



Yuko Suzuoki, Japan

Yuko started braiding at a kimono dressing class in 1995, and after passing through the teacher’s course, she mainly created obijime in the advanced course. She came across Makiko Tada’s works and books and was impressed, and in 2013 she joined the Kumihimo Society.

In 2019, she became a certified instructor of the Kumihimo Society.  She mainly makes accessories using Kumihimo, and has been presenting a series of accessories with Japanese auspicious patterns as motifs at her art exhibitions since 2021.

Class 1D24 – Transformable Kumihimo accessories


Laura Thode, USA

Laura was introduced to tablet weaving at an experimental archaeology lecture during her semester in Germany; discovering that weaving could be accomplished with minimal equipment set her on a life-long path of exploration.  She attended Braids 2022 and taught a taster session on passesmenterie.  Laura has done numerous demonstrations over the years with the Portland Handweavers Guild, and taught tablet weaving, sprang, loop manipulation braiding and bookbinding classes at historic events and demos

Class 1D9  Laura Thode – Possibilities of Passementerie




Mari Voipio, Finland

A native Finn, Mari inherited an interest in working with yarn. Mari is studying for a bachelor’s degree in business IT, with specialization in digital services. The subject of my bachelor’s thesis is software created to simulate and aid weaving of narrow wares, which surprised my teachers, but it is within the scope of the degree and has been approved.

She has taught computing on basic and intermediate level, amongst many other things and made instruction videos on computer software and written instructions on how to use software.  Mari is also used to teaching and instructing a very varying crowd, from very digital persons to first-time users. In some ways it’s even easier to teach computing in English than Finnish because of the terminology!

Her current mission is to spread information existing in English and even German to a Finnish audience (eg. a lot of the inkle weaving information is applicable when you know what to look for) and to explain our Nordic and Uralic traditions to English-speaking audiences. Others are doing tablet weaving, but band weaving seems to be a bit scarce, and by 2025 I also hope to have for example instructions on how to do sprang the Finnish way. I have also done a lot of luceting in the last 15 years, but now there are so many others I’m only doing some specific things that seem to be missing from the internet.

Class 1D16 – Pattern Heddles and what you can do with yours


Websites: , ,

Barbara Walker, USA

Barbara J. Walker is an avid ply-splitter, weaver, braider, and finds interlacements of all sorts fascinating. Her current obsession is finding ways to combine two or more fiber techniques,  sometimes with unexpected results.

Barbara has been teaching weaving and braiding for 25 years including several Braids Internation Conference and has published two books as well as a number of articles.  Books – 2016:  Published Supplementary Warp Patterning: Turned Drafts, Embellishments & Motifs.  2012: Published Ply-Splitting From Drawdowns: Interpreting Weave Structures in Ply-Split Braiding

Class 2D10 – Ply split embellishments for the takadai

Email: or


John Whitley, USA

John has been avidly pursuing kumihimo since 2008. He has studied with Rodrick Owen, Makiko Tada, Jennie Parry, among others. His passion is exploring the amazing structural opportunities and challenges that braiding affords. He has taught a number of classes including two International Braid Conferences and many demonstrations in the North West United States.

Class 2D4  – Techniques for wide Takadai braids


Jennifer Williams, USA

Jennifer Williams is a passionate band weaver and teacher. She has spent many years exploring band weaving techniques practiced around the world and enjoys the challenge of interpreting them for the inkle loom. Her work can be found in Handwoven Magazine’s Easy Weaving with Little Looms and on her blog

Class 1D1 Jennifer Williams – Aso-Oke Nigerian inspired inkle bands

Class 1D18 Jennifer Williams – Mapuche inspired band weaving on a frame loom



Yuko Yoshida, Japan

Yuko Yoshida is a Kumihimo artist, teacher and researcher who specializes in Maru-dai and Taka-dai braiding. While studying traditional techniques, she also focuses on creative works.

She started braiding in 2009 and in 2022 she received the title of Takumi (master craft person) from Tokusaburo Hirosawa, a craftsman in Iga.   In 2023 Yuko a doctoral degree from Kyoto Institute of Technology in the study of non-straight braids

Class 1D21 – Leaf Design on takadai

Class 1D29 – Leaf Design on marudai