Inspired by Muhammad Yunus’s work microlending to small businesses, in 2006 the 24-year-old Rebecca van Bergen, armed with a master’s degree in social work, decided to aid female craft artisans globally “beyond the creation of small debt,” as she puts it.

For centuries, blacksmithing in America has had a macho-white-guy image. But not all blacksmiths are cisgender Caucasian men.

Founded in 1855 as the first coeducational, interracial college in the South, Berea College has a proud tradition of equity. It has also been committed to craft since the late 19th century.

Throughout American history Black craftspeople, free and enslaved, have too often labored in total obscurity. But the patient work of Tiffany Momon and her colleagues is bringing these makers to public awareness, one name at a time.

The creators of Craft Equity identify themselves as an anonymous group of queer and racially diverse craft artists who exhibit and teach internationally.

For years, when craft artists suffered major setbacks, colleagues would support their recovery by passing the hat at American Craft Council fairs. However, for glass artist Josh Simpson, ceramicist Marylyn Dintenfass, and Carol Sedestrom Ross, this wasn’t good enough.

The Eliot School inspires lifelong learning in craft and creativity for all.

Badass Cross Stitch, says Shannon Downey, “is not an organization or a team—it’s just me.”

“As a senior curator, folklorist, and textile artist,” says Diana Baird N’Diaye, PhD, lead curator and developer of the AACI, “I noticed that throughout the craft sector African Americans were grossly underrepresented and underdocumented.