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The purpose of this study is to examine the perceptions and attitudes of arts and design faculty on teaching sustainability in higher education institutions in the USA.

Arts and design faculty from nine universities in the USA were approached for the study, using both closed and open-ended questions in a survey instrument. Descriptive statistics and content analysis were used to analyze the collected data.

Results related to arts and design faculty’s perception of sustainability showed high confidence in teaching sustainability but lower confidence in inspiring students to take action on sustainability issues. Faculty also perceived time, resources, knowledge and support as barriers to the integration of the topic into the curriculum. This study revealed that the faculty’s attitude toward sustainability demonstrated their recognition that sustainability should be at the core of their discipline and that they support its integration into courses.

This study is limited to arts and design faculty in higher education institutions in the USA. The results may not be generalizable to other fields or locations. In addition, the use of self-reported data may be subject to bias.

The findings of this study can inform the development of curriculum and pedagogy in arts and design sustainability education. It can also guide institutions in addressing the challenges and barriers related to incorporating sustainability into their curriculum.

Prioritizing sustainability education is crucial in addressing global climate change and related issues. Art and design educators’ perspectives on teaching sustainability can contribute to constructing a sustainable future for everyone.

This study provides insight into the perception and attitude of sustainability among arts and design faculty in higher education in the USA and highlights areas for improvement such as training and resources to better integrate sustainability into the curriculum.

This paper argues that cultures with the same climate have similar handicrafts as they have similar cultivation and identical raw materials. This study focuses on how mountainous, coastal and hot regions partaking in similar crafts and cultural heritage use palm leaves and analyses the resulting handicrafts' similarities.

A review of mapping these samples establishes this similarity in the traditional industries of some civilizations' cultural heritage from countries sharing similar climates.

The handwoven crafts using palm leaves were significant patrimonial artifacts in different societies' and communities' cultural heritage. Our studies revealed that climate plays an active role in influencing all aspects of humanity’s life. It affects the construction methods and style, agriculture and lifestyles.

Traditional handwoven palm leaf product models, especially plates and baskets, are studied from South America, Africa, Gulf Countries and Asia.

Additionally, this paper focuses on preserving these treasures as an essential part of interior elements as accessories for most inhabitants of these areas.

Cultural heritage also embraces intangible aspects such as skills passed down through generations within a particular society. The tangible and intangible elements complement each other and contribute to an overall legacy.

Cultural heritage reflects a society’s way of life carried down through the years across lands, items, customs and aesthetic concepts. People are the gatekeepers of society, as they preserve their way of life for future generations to emulate. Tangible artistic and cultural heritage comprises artifacts. It comprises all human evidence and expressions, such as traditional handicrafts, pictures, documents, books and manuscripts.

This study aims to produce textile-like surfaces using fused deposition modelling (FDM) 3D printers and create a garment collection.

Experiments were conducted using different types of materials in FDM 3D printers until the sufficient flexibility was achieved to create textile-like structures. During the research, properties of polylactic acid (PLA), acrylonitrile butadiene styrene (ABS) and thermoplastic polyurethane (TPU) were observed. Geometrical patterns were printed and each of them gave a different result depending on the pattern. Based on the information obtained from the experiments, a garment collection with four total looks was designed inspired by Vivaldi’s “Four Seasons”.

Among the materials used, TPU, a flexible filament, yielded the best results. Because of the rigid properties of PLA and ABS, chain-like structures were printed to create relatively flexible surfaces, but the results were still not successful enough to create a clothing material. Therefore, TPU was preferred for the garment material selection.

In this study, combinations of 3D printed flexible structures and different types of fabrics were used to create a garment collection. It was concluded that, with the right material selection, 3D printing can be used as an alternative method to create a new aesthetic language in fashion design.

The purpose of this paper is to argue for a transformative education that acknowledges and values the capacities of mature students, where higher education institutions reflect on their own assumptions and practices in order to become more inclusive and open to difference.

The stories told by Eliza, a mature student, are analysed through narrative inquiry; this approach uses a narrative as a means of capturing and analysing experience. In this case, Eliza’s stories about transition and transformation were collected over three years. Eliza made the transition from her “Access to HE course” to a degree programme in textiles. She was crossing a boundary between further and higher education, a time which could impact positively or negatively on her future achievements. The conclusions drawn from this study are not easily turned into generalisations or “truths” as they are contingent on the contexts in which the narratives were produced. Narrative is a representation of experience which is mediated by the social and cultural positions of the narrators and their audiences.

This study found that Eliza was confronted by many difficulties and misunderstandings around time management, pedagogy and assessment. Ineffective communication between Eliza and her tutors led to a growing frustration resulting in her considering leaving the course. Eliza’s institution sometimes seemed inflexible and was unable to respond effectively to her needs as a part-time student.

The implications for educators are that they should think about strategies for adapting to a diverse student body.

The previous experiences and backgrounds of “newcomers” should be celebrated rather than being perceived as “issues” that need to be fixed. In other words, when “non-traditional” students move through the stages of their education, their learning contexts may also need to be transformed.

Adaptive reuse processes aim to preserve heritage values while creating new values through the architectural interventions that have become necessary. This claim provokes a discussion about the meaning of values, how we can preserve them in practice and how we can translate them into architectural qualities that users experience. Riegl's understanding of the different perspectives of heritage values in the past and present opens up the possibility of identifying present values as a reflection of current social, material and political conditions in the architectural discourse.

This qualitative and practical study compares two Belgian projects to trace the use of values in adaptive reuse projects from an architectural design perspective. The Predikherenklooster, a 17th-century monastery in Mechelen that now houses the public library, and the C-Mine cultural centre in Genk, a former 20th-century coal mine, are compared. The starting point is Flemish legislation, which defines significance through values, distinguishing between 13 heritage values.

The study demonstrates the opportunities that axiological questions offer during the design process of an adaptive reuse project. They provide an overarching framework for tangible and intangible aspects that need to be discussed, particularly in terms of the link between what exists, the design strategy and their effect.

Adaptive reuse can draw on approaches from both heritage conservation and contemporary architecture and explore values as a tool for “re-designing” built heritage.

The purpose of this study is to successfully apply ultrasonic waves for the quick extraction of flax seed gum from flaxseed hull or whole seed and compare it to the standard technique of extraction.

The effect of the heating source, extracted time, temperature and pH of extracted solution on the extraction was studied. The obtained gum is subsequently used for silk screen printing on cotton, linen and viscous fabrics. Rheological properties and viscosity of the printing paste were scrutinized in the current study to get a better insight into this important polysaccharide. The output of this effort aimed to specify the parameters of the processes for printing textiles to serve in women’s fashion clothes by applying innovated handmade combinations of Islamic art motives using a quick and affordable method. Seven designs are executed, and inspiring from them, seven fashion designs of ladies’ clothes were designed virtually by Clo 3D software.

The result recorded that the new gum has excellent printing properties. In addition, they have better rheological properties, viscosity, chromatic strength and fastness qualities, all of which could help them in commercial production.

Flaxseed and three different fabric types (Cotton, Linen and Viscous) were used.

Synthesis of a new biodegradable thickener from a natural resource, namely, flaxseed, by applying new technology to save time, water and energy.

Synthesis of eco-friendly biodegradable thickener and used in textile printing alternative to the synthetic thickener.

Design-thinking (DT) in education has attracted significant interest from practitioners and academics, as it proffers new-age thinking to transform learning processes. This paper synthesises extant literature and identifies the current intellectual frontiers.

First, a systematic-literature-review was undertaken employing a robust process of selecting papers (from 1986 to 2022) by reading titles, abstracts and keywords based on a required criterion, backward–forward chaining and strict quality evaluations. Next, a bibliometric analysis was undertaken using VOSviewer. Finally, text analysis using RStudio was done to trace the implications of past work and future directions.

At first, we identify and explain 12 clusters through bibliometric coupling that include “interdisciplinary-area”, “futuristic-learning”, “design-process” and “design-education”, amongst others. We explain each of these clusters later in the text. Science, Technology, Engineering, Arts and Mathematics (STEAM), management education, design and change, teacher training, entrepreneurship education and technology, digital learning, gifted education and course development) Secondly, through co-word-analysis, we identify and explain four additional clusters that include “business education and pedagogy”, “content and learning environment”, “participants and outcome” and finally, “thinking-processes”. Based on this finding, we believe that the future holds a very positive presence sentiment for design thinking and education (DT&E) in changing the 21st century learning.

For investigating many contemporary challenges related to DT&E, like virtual reality experiential learning, sustainability education, organisational learning and management training, etc. have been outlined.

Academics may come up with new or improved courses for the implementation of DT in educational settings and policymakers may inculcate design labs in the curricula to fortify academic excellence. Managers who would employ DT in their training, development and policy design, amongst others, could end up gaining a competitive advantage in the marketplace.

This study conducted a comprehensive review of the field, which to our limited knowledge, no prior studies have been done so far. Besides, the study also outlines interesting research questions for future research.

This paper aims to investigate consumer sustainability awareness. In addition, it examined consumer purchasing behaviour as well as the use and disposal of used clothes.

To investigate consumers’ understanding of sustainability, clothing consumption, use and disposal of cloth. Primary data was gathered through the use of open-ended questionnaires. The study used a total of 56 consumers.

It was shown that consumers are aware of sustainability as a worldwide concern. It was also established that customers occasionally buy garments based on their hobbies and end up not using all of the clothes before the season ends. They also revealed that destroying or discarding used clothing can be bad for the economy, the environment and society.

Consumers in Bolgatanga were the primary subject of this investigation. Different outcomes might be produced if the study was conducted in different regions of Ghana.

Outlining the behaviour of consumers is important to advance awareness on sustainability to avoid congesting the environment/society with used clothes.

To reduce the potential impact that clothing may have on the many agents of sustainability, fashion designers ought to provide instructions to consumers on how to use and dispose of clothing.

This study contributes to policy development strategies of disposing off used clothes and consumers purchasing behaviour of clothes.

This article examines curatorial practices, both traditional and digital, in the Guizhou Provincial Museum’s ethnic exhibition to assess their effectiveness in representing ethnic minority cultures, fostering learning and inspiring curiosity about ethnic textiles and costumes and associated cultures. It also explores audience expectations concerning digital technology use in future exhibitions.

A mixed-methods approach was employed, where visitor data were collected through questionnaires, together with interviews with expert, museum professionals and ethnic minority textile practitioners. Their expertise proved instrumental in shaping the design of the study and enhancing the overall visitor experience, and thus fostering a deeper appreciation and understanding of ethnic minority cultures.

Visitors were generally satisfied with the exhibition, valuing their educational experience on ethnic textiles and cultures. There is a notable demand for more immersive digital technologies in museum exhibitions. The study underscores the importance of participatory design with stakeholders, especially ethnic minority groups, for genuine and compelling cultural representation.

This study delves into the potentials of digital technologies in the curation of ethnic minority textiles, particularly for enhancing education and cultural communication. Ethnic textiles and costumes provide rich sensory experience, and they carry deep cultural significance, especially during festive occasions. Our findings bridge this gap; they offer insights for museums aiming to deepen the visitor experiences and understanding of ethnic cultures through the use of digital technologies.

The purpose of this study is to empower a tradition Bodo attire Dokhona skilled artisan for their livelihoods and preserve cultural and historical legacy by using new themes influenced by Bodo items.

To revive the traditional Bodo artefacts by adapting a varied form of motifs inspired from Bodo artefacts which showcases Bodo identity.

Motifs implemented in apparel (e.g. Dokhona) inspired from Bodo traditional tools and musical instruments, signifying Bodo identity. Such apparels could be purchased by Bodo consumers as they are very keen to sustain their culture and heritage through motifs weaved in their traditional apparel. This study also proves that Dokhona designed with novel motifs developed from traditional artefacts are better than currently available designs of Dokhona as these were more aesthetic and contemporary in look.

The motif adapted from traditional artefacts would motivate the weavers to weave innovative motif designs in their apparel bringing some newness in the Bodo traditional attire Dokhona, leads to business and women empowerment.

This study showed the way to create innovative ideas for designing apparel (e.g. Dokhona) from cultural artefacts and helps prospective textile and apparel designers to design sustainable Dokhona.