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This issue features a range of articles that explore different cultural and environmental forms of sustainability in the face of crises, including climate change and conflict, revealing how craft reconnects and sustains us as humans. Within the theme of Place and cultural identity, Ana Nolasco discusses the significance of Madeira Island embroidery, by drawing upon interviews conducted during a six-year postdoctoral study across the Portuguese-speaking archipelagos. Neetu Singh and Vanshika Gupta’s Craft and Industry Report shines light on the craft of Mata Ni Pachedi, originated by the nomadic Vagahri community of Gujarat. The Remarkable Image, contributed by Prasanna P. and Asokan T., captures a skilled weaver as he contributes to the preservation of handloom crafts in Uraiyur. In ‘Estonian blues’, Julia Valle_Noronha and Piret Puppart explore how the use of natural dyes can positively impact education, society and the environment, through a case study of the ‘Ethno’ course at the Estonian Academy of Arts. Making as a response is prioritised by Tarja Kroger and Sirpa Kokko, who explore the crafting triggered in Finland by the war in Ukraine and the meanings attached to processes and artefacts encompassed within 40 writings. Niina Väänänen and Katja Vilhunen’s analyse surveyed Finnish hobbyists’ views on sustainable crafts, highlighting intangible influences on wellbeing, cultural and environmental responsibility. Valle-Noronha’s review of REPAIR, held at Aalto University, Finland as part of the PLATE2023 conference, reinforces the notion of responsive making within multiple product and service contexts. D Wood reviews the HOME/MAKING conference held at Concordia University in Montréal, Canada in May 2023, while Gemma Potter further explores our relationship with the domestic and familiar through her Portrait of the ceramicist Ingrid Murphy. Michelle Stephens reviews Interwoven: Exploring Materials and Structure (2022) by Maarit Saloainen, and Bogil Lee reviews A Philosophy of Textile: Between Practice and Theory (2020) by Catherine Dormor.
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