From heritage to digital fashion: a curriculum integration framework for art and design education

Abstract

Introduction:

The deserts of Saudi Arabia are rich in rock art and cultural heritage sites, with ancient murals in the AlUla region holding significant symbolic meaning. Heritage plays an important role in preserving cultural values and strengthening national identity. Fashion designers often draw inspiration from heritage sites because they offer a wealth of shapes, structures, and historical contexts. Although some studies have focused on cultural heritage sites, little is known about how fashion design instructors use heritage sites, such as rock art, in education, or incorporate technological tools during the learning process. The current study aims to ingrate a curriculum integration (CI) theory to explore how educators can effectively integrate fashion design, heritage, and technology to enhance learning outcomes. Additionally, it investigates the researcher’s application of CI theory within a project-based learning (PBL) framework, focusing on the symbolic meanings associated with rock art in AlUla in Saudi Arabia as a form of human communication by analyzing details using Perkins’ model. This analysis includes the development of fashion designs using technological tools such as FashionDraw and Procreate applications.

Methods:

This study employs practice-based research (PBR) methods, including action research, experimentation, and autoethnography, to gain a deeper understanding of how fashion design, cultural heritage, and technology can be integrated. The research involves the investigator visiting various locations in t AlUla city at the Kingdom of Saudi Arabia (KSA) to acquire practical knowledge of rock art heritage, which serves as a source of inspiration.

Results:

The findings highlight two main themes: (1) applying CI theory to design on cultural heritage, fashion, and technology in PBL, (2) explore and analyze cultural context of the rock art of AlUla using Perkins’ model, and (3) developing Innovative fashion collections inspired by AlUla rock art through technology. The study produced six innovative fashion illustrations and recommends integrating Saudi heritage and technology into fashion education and practice.

Discussion:

This study examines the significance of AlUla rock art as a vital component of cultural heritage in Saudi Arabia. It analyzes intricate artistic details and employs the FashionDraw and Procreate applications to develop design concepts. Further research is needed to investigate cultural heritage at local and international levels and to incorporate innovative technological tools into educational contexts.

1 Introduction

Teachers can inspire fashion design students to explore heritage sites by providing resources and technology tools, guiding research, and suggesting creative projects. Idacavage and Peters (2025) indicated that for fashion design departments considering integrating courses, integration is most successful when faculty members are supportive and enthusiastic about the process. Curriculum integration (CI) theory provides a framework for understanding the objectives of educational institutions, the origins of curriculum content, and practical applications of knowledge. This theory posits that the curriculum should be shaped by real-world problems, issues, and concerns encountered in daily life (Beane, 1995). CI involves combining multiple subjects while teaching a topic. Education plays a crucial role in enhancing the quality of human resources, professionalism, independence, and creativity. A well-organized education system is the key to empowering the next generation to be intelligent and creative (Ahliana et al., 2025). Idacavage and Peters (2025) explained that CI enables students to understand the connections among disciplines and begin developing a holistic knowledge base. However, CI-theory-based fashion courses that use digital tools are scarce. None (2025) found that nearly 60% of the students in fashion design departments lacked familiarity with or rarely used design applications. When students integrate cultural heritage into their designs, they emphasize the importance of culture and connect it to their identity by applying cultural principles. Effective pedagogy supports students’ and practitioners’ understanding of heritage landscapes and encourages productive engagement through processes that foster critical thinking (Chatterjee and Leonie, 2016). Siroor and Anita (2025) investigated the transformation of visual culture influenced by digital technologies, focusing on emerging artistic formats and their implications for the art world. They conducted a content analysis of scholarly sources, a comparative analysis of traditional and digital practices, and a statistical evaluation of the growth in the digital art market. The findings indicate that the integration of digital tools with traditional art aids the preservation and reinterpretation of cultural heritage. Alshehri et al. (2025) advocated for further exploration of the integration of Saudi Arabia’s regional decorative arts into uniforms to enhance the representation of cultural identity.

This study aims to apply CI theory to explore how educators can effectively integrate fashion design, cultural heritage, and technology. Additionally, it examines the researcher’s application of this theory within a project-based learning (PBL) framework, focusing on the symbolic meaning of AlUla rock art as a form of human communication by analyzing details using Perkins’ model. The primary research question guiding this study is: “In what ways can learner draw inspiration from AlUla rock art motifs through the application of technological tools?”

2 Literature review

2.1 Curriculum integration theory

CI theory refers to the style of constructively relating to diverse subject areas and facilitating interdisciplinary learning. This model attempts to restructure the conventional aspects of a discipline so that students can learn about the subjects around them as interrelated rather than as separate. By exploring real-life circumstances that connect academic content in distinct disciplines, this study promotes learning with a larger capacity. Integration can also promote unity among students by emphasizing the value of knowledge, which in turn supports their critical analysis and problem-solving skills through integrated processes (Gülşah and Aslan, 2021).

CI theory has several implications. VanTassel-Baska and Wood (2009) presented the benefits of an integrated curriculum model that prioritized an interdisciplinary approach to learning, particularly for gifted students. Their paradigm proposes integrating academic disciplines such as science, literature, and the arts to challenge students and develop learner proficiency with the highest level of comprehension. Greater involvement of learners in the educational process highlights the need to integrate curricula, allowing for broader and more comprehensive content inclusion. In their view, CI helps create a learning environment by addressing the diverse needs of students, including those with special education needs. Rachmad (2022) proposed life integration theory, which links teaching to broader life experiences by incorporating life skills and social issues into curricula. Thus, several theorists have influenced CI theory, which values the dissection of subject boundaries as well as unity in learning, and links learning with real-life experiences. These points of view underline the potential for integrated curricula to improve student interactions and achievement.

In other words, CI theory informs course design by merging disciplinary boundaries, enabling students to learn about technology, fashion, and cultural heritage as interconnected rather than as isolated domains. Drawing on interdisciplinary and life-integration models, the course links academic content to real-world cultural contexts and design challenges. This approach deepens understanding, strengthens problem-solving skills, and supports more inclusive and meaningful learning experiences.

2.2 Fashion and cultural heritage in education

The quality of learning is a fundamental determinant of educational success, particularly in fashion design education programs that bear the responsibility of producing future educators and professional practitioners with strong theoretical foundations and advanced practical skills. As the fashion industry continues to evolve rapidly through digital innovation and cultural reinterpretation, educational programs must cultivate environments in which students can build competencies to respond to contemporary challenges. Academic culture also plays a critical role in shaping the environment. They function as guarantors of educational quality by guiding the norms, values, and practices that define education institutions. According to Basir et al. (2017), a strong academic culture supports effective quality management and fosters continuous improvement in universities. Similarly, Shen and Tian (2012) emphasized that academic culture contributes to the identity, stability, and intellectual vitality of academic communities. This culture manifests uniquely in fashion design education because of the discipline’s inherently creative and practice-oriented nature.

Fashion transcends clothing and serves as a reflection of the history, tradition, and culture underlying it. Cultural heritage significantly shapes contemporary fashion by providing designers with a rich source of inspiration derived from traditional craftsmanship, regional styles, and historical influences. García (2018) indicated that the emergence of fashion exhibitions correlates with the acknowledgment of fashion culture’s economic significance, which is recognized as a form of cultural heritage. Cultural heritage encompasses a diverse array of artifacts, monuments, architectural ensembles, sites, and museums that embody a multitude of values. These values include, but are not limited to, symbolic, historical, artistic, aesthetic, ethnological, anthropological, scientific, and social significance (Achille and Fiorillo, 2022), which is characterized by creativity, innovation, and originality, collectively shaping its academic culture. Lee et al. (2021) explained that fashion students and educators rely heavily on exploratory processes, conceptual thinking, and experimentation to develop their design ideas. Practical competencies, such as sewing, pattern-making, textile development, and product creation, further reinforce a culture that values hands-on experiential learning (Lahti et al., 2016). Thus, the academic culture within fashion programs tends to integrate theoretical inquiry with artistic practice, forming a holistic framework that prepares graduates to adapt to the dynamic global fashion industry.

In the context of cultural heritage, fashion design holds a significant position as both a creative practice and form of cultural expression. Historically, fashion archives have preserved a wide range of materials, including garments, sketches, accessories, ephemera, photographs, and administrative records, as documented by Pecorari (2021). These archives function not only as repositories but also as cultural memory, enabling designers, researchers, and educators to understand identity, tradition, and socio-historical change. Clark and de la Haye (2013) argued that when fashion objects are contextualized within exhibitions and archives, they become cultural artifacts that narrate global histories and aesthetic developments.

2.3 Technology and digital fashion design illustrations

Digital drawing applications offer significant technical advantages and are pedagogically sound. They support constructivist learning approaches, promote integration within the curriculum, enable comprehensive visual inquiry, and create opportunities for differentiated and collaborative learning. Amoush et al. (2025) highlighted the importance of integrating technology into practice, including the use of computer-aided design. Their comparative analysis revealed the tangible benefits of digital drawing tools such as enhanced efficiency, precision, and accessibility, while addressing potential technical and creative challenges.

Digital technologies have transformed the management, interpretation, and accessibility of fashion heritage. Digital archives, immersive displays, augmented reality and virtual reality have expanded the ways in which cultural fashion knowledge can be preserved and engaged. Colombi and Martin (2026) highlighted the pedagogical relevance of these technologies and proposed an augmented fashion archive ability model as a framework that connects conservation science, community engagement, and technological innovation. Digitalization not only enhances the sensory experience of fashion heritage but also allows deeper exploration of design intent and cultural context.

Furthermore, recent research has underscored the importance of integrating cultural elements into contemporary fashion practices. Wu et al. (2025) found that sustaining traditional clothing styles requires strategies such as reviving heritage esthetics, modernizing cultural symbols, and leveraging digital tools to support diversity and sustainability. Digital transformation has broadened the interactions between fashion and cultural management. Nobile et al. (2021) noted that technology influences communication, marketing, production, and heritage in the fashion industry, making it essential for educational programs to prepare students for these changing realities. Besana et al. (2025) found that co-design approaches enable students to interact directly with fashion archives through interactive technologies, foster innovative ways of interpreting and engaging with cultural heritage, and provide access to a diverse array of techniques, each with distinct advantages and applications. Technology plays a pivotal role in the instruction and learning of art-related disciplines by significantly enhancing learners’ artistic capabilities (Xu and Nazir, 2022). Individuals with limited artistic backgrounds can use these techniques to produce professional artwork. Continuous advancements in digital tools, features, and enhancements in existing and new applications have highlighted their substantial potential in educational contexts (Holzenthal, 2008). Artists employ various tools to experiment and create innovative art, with technological experimentation catalyzing innovation and yielding novel outcomes that advance artistry. Modern design technologies are integral to learner’s time, rendering their incorporation into arts and design education essential across various domains. Computer-based digital art experimentation enables artists to operate more efficiently, conserving time and effort, while maintaining an organized archive of drawings, shapes, and colors for future access.

Based on the reviewed literature, a few studies have focused on CI theory or how fashion design instructors use cultural heritage and incorporate technological tools during the learning process. The current study aims to develop a course that employs CI theory to explore how educators can effectively integrate fashion design, cultural heritage, and technology. Additionally, it examines the researcher’s application of this theory within a PBL framework, focusing on the symbolic meaning of AlUla rock art as a form of human communication, and a significant aspect of Saudi Arabia’s cultural heritage. It analyzes intricate details and utilizes FashionDraw and Procreate applications to create design concepts. Furthermore, this study aims to incorporate these motif elements as sources of inspiration for fashion designers. Although numerous studies have investigated the application of AlUla rock art motifs in fashion design, their educational significance has largely been neglected. Moreover, no prior research has been used these applications as technological resources in art and fashion education. Consequently, this study offers invaluable guidance for instructors engaged in teaching art students by incorporating the CI theory into their projects. Simultaneously, it endeavors to assist educators in understanding the diverse needs of their learners and providing appropriate support throughout their educational journeys.

3 Methods

The research design was a qualitative experiential case study. This study used CI theory to design cultural heritage, fashion, and technology. The researchers played the dual role of designer and analyst. The researcher analyzed details of motifs using Perkins (1994) model, and evaluates understanding using three criteria:

• Knowledge: conceptual understanding (cultural heritage, fashion, and technology).

• Practice: application and integration (design, analysis, and technological execution)

• Reflection: critical, ethical, and cultural analysis.

First, the researcher developed a deep understanding of the integration of fashion design, cultural heritage, and technology. This study aimed to gain a deeper understanding of cultural heritage through direct engagement. The researcher visited various locations to acquire practical knowledge of rock art heritage in AlUla in the KSA. Second, the researcher implemented an experiential framework that utilizes technological tools, including FashionDraw and Procreate. This study examined these two applications within a PBL framework, focusing on the symbolic meanings of AlUla rock art as a form of human communication in the final project as an example. Third, the researcher reflected on the outcomes of this research, which are presented through a combination of a creative fashion design collection and a written component that contextualizes and explains the findings in relation to CI theory. Practices are widely applied in creative disciplines that link fashion design, heritage, and technology.

3.1 Purposeful sampling

Purposeful sampling was used to target a course on cultural heritage, fashion, and technology using CI theory. This study investigated the researcher’s application of this theory within a PBL framework, focusing on the symbolic meanings associated with AlUla rock art. This study selected samples of rock art motifs that, despite representing diverse heritages, were identified through various research sources, including UNESCO documents, websites, and key sites such as Oldtown, Hajer, and the Al-Feel Mountain. Subsequently, the researcher analyzed the motif units, drawing inspiration from heritage sites for the purpose of innovation. This approach led to the creation of five fashion design illustrations using technological tools, including the Procreate and FashionDraw applications.

3.2 Data collection and analysis

3.2.1 Observation

The researcher conducted a comprehensive examination by diligently scouring online resources and personally testing various technological tools while being immersed in user evaluations. The researcher meticulously documented the physical environment, activities, interactions, and conversations encountered during this process. Subsequently, the researcher analyzed the locations of the observations, compiled relevant websites, and collected the images. Throughout this observational study, the researcher visited art museums, captured photographs of diverse locations in AlUla, investigated the region’s heritage, and experienced the local culture. These findings are grounded in the author’s personal experience during a visit to AlUla.

3.2.2 Documents and artifacts

Documents and artifacts were the primary sources of qualitative data. This category encompasses a diverse range of written records, visual materials, artifacts, and archival data. The data derived from these documents and artifacts include visual media, such as letters, videos, illustrations, web-based content, and photography.

3.2.3 Drawing technology tools

The researcher used advanced drawing technology tools, specifically, the FashionDraw and Procreate applications. Procreate was employed to enhance the intricacies of rock art motifs, whereas FashionDraw was used to develop fashion design figure collections. An iPad Pro 11-inch with a digital Apple Pencil was used to download FashionDraw and Procreate applications from the Apple Store.

3.2.4 Thematic data analysis (coding)

NVIVO software was used to upload and prepare observational field notes for coding and analysis. Subsequently, the researcher employed coding techniques to categorize the data in alignment with the research questions, while also identifying common themes and motifs present in the rock art of AlUla. The researcher conducted the coding process twice, drawing from various sources to ensure comprehensive reporting of the findings such as tables of motifs and organized of themes of the study.

4 Results

This study focuses on analyzing AlUla rock art and its application in fashion design. The findings revealed two main themes: (1) applying CI theory to design on cultural heritage, fashion, and technology in PBL, (2) explore and analyze cultural context of the rock art of AlUla using Perkins’ model, and (3) developing Innovative fashion collections inspired by AlUla rock art through technology. Corresponding to research question “In what ways can learner draw inspiration from AlUla rock art motifs through the application of technological tools?”

4.1 Theme 1: applying CI theory to design on cultural heritage, fashion, and technology in PBL

Hazard et al. (2025) stated that the implementation of PBL in educational and professional environments requires a substantial transformation in instructional strategies and assessment practices. This approach actively involves students addressing real-world problems and challenges through sustained inquiries and collaboration. The culmination of this process involves creating meaningful products that demonstrate learning and engagement. Educators are tasked with designing and facilitating impactful projects that align with both learning objectives and industry demands. This approach must carefully balance the freedom of individuals to learn from mistakes and explore various pathways with the necessary guidance and support to ensure successful outcomes. In other words, the educator’s role commences with the formulation of open-ended questions or the presentation of real-world challenges integral to the learning objectives. PBL was used as a culminating project. It is essential to ensure that the project aligns with curriculum standards and educational goals. The project structure should be meticulously planned, including outlining the steps involved, breaking them down into subtasks, and establishing a timeline to which students can adhere. Furthermore, it is crucial to develop assessment methods that evaluate both the process and the final product, using rubrics to provide guidance to students. Table 1 presents the learning outcomes of the final PBL.

4.2 Theme 2: explore and analyze cultural context of the rock art of AlUla using Perkins’ model

Knowledge, practice, and reflection were the three aspects of the model designed to help evaluate the learning design process. Each stage builds on the previous stage, supporting a structured yet flexible approach for interpreting rock art imagery and visiting sites and museums in AlUla. The researcher used Perkins’ model, which provides a structured yet flexible framework for interpreting AlUla rock art imagery by guiding sustained observation, exploratory inquiry, evidence-based reasoning, and reflective meaning-making. This approach supports visual literacy, critical thinking, and the culturally responsive interpretation of rock art images in AlUla. Researchers have emphasized the importance of Saudi Arabia’s cultural heritage, particularly Dadanitic inscriptions and AlUla rock art, as valuable resources for enriching contemporary design. Turkestani and Shaudhry (2024) highlighted the need to deepen learners’ understanding of these inscriptions to enhance national heritage and inspire modern ceramic design, recommending further research on Saudi rock inscriptions for artistic use. Ocal (2016) highlighted universities’ responsibility to protect heritage by educating future designers about the value of local cultural resources and historical archives. The study promotes design strategies that encourage idea generation through observation, analysis, and synthesis rather than restrictive methods.

Costanza-Chock (2020) framed design as a process that transforms sketches and concepts into final objects or systems. In this research, cultural artifacts—especially rock art motifs—serve as inspiration for contemporary design, bridging tradition and innovation within the fast-paced fashion industry. Rock art in AlUla is rich in symbolism and includes ancient scripts, geometric forms, and human and animal figures. Scholars note that this heritage reflects the long cultural history of Saudi Arabia and connects deeply with the development of the Arabic language and alphabet. With over 4,000 archeological sites and 1,500 rock art locations (Khan, 2013), Saudi Arabia’s rock art spans from the Neolithic period to early Islam. Al-Hijr (Mada’in Saleh), near AlUla, is highlighted as Saudi Arabia’s first UNESCO World Heritage Site and contains extensive inscriptions and cultural remains dating back to 1,700 B. C. Rock art motifs in AlUla include various ancient and Arabic scripts, non-representational and geometric motifs, and human and animal figures (Turkestani and Shaudhry, 2024; Ocal, 2016; Costanza-Chock, 2020).

4.2.1 The Musnad script

The Musnad script is one of the earliest documented writing systems of the Arabian Peninsula and serves as a foundational source for understanding the region’s ancient linguistic and cultural development. Inscriptions engraved on durable materials such as rocks, monuments, and architectural structures provide critical primary evidence for reconstructing pre-Islamic societies and remain central to contemporary archaeological and historical scholarship (Mabrouk and Shata, 2010) The term Musnad, meaning “supported,” reflects the script’s monumental, upright carving style, a description emphasized in linguistic analyses of early Arabian writing traditions (Guagnin et al., 2025). Structurally, Musnad shares notable affinities with other Semitic writing systems, particularly Phoenician and Aramaic, stemming from their shared origins within the broader Canaanite script family (Mabrouk and Shata, 2010). In Table 2, the researcher used critical analysis of a Musnad script using Perkins’ model for analyzing of the rock art images.

Image (Afnan et al., 2023; Abulhab, 2025)	Perkins’ phase	Analysis of the rock art image
	1. The Observational (Looking Closely)	The researcher observed engraved linear symbols, anthropomorphic figures, and repeated geometric forms carved into the rock surface. Variations in line depth, scale, and spatial clustering are noted, alongside surface weathering and patination.
	2. The Analytical (Looking for Meaning)	The repetition of a Musnad characters suggests intentional inscription rather than random markings. The proximity of script to figurative elements implies a meaningful spatial relationship between text and imagery.
	3. The Interpretive (Looking for Meaning Beyond the Surface)	The coexistence of script and imagery may indicate communicative, ritualistic, or territorial functions. The formal consistency of characters aligns with known features of South Arabian (Al-Musnad) script traditions.
	4. The Reflective (Looking Back and Beyond)	Questions emerge regarding authorship, audience, literacy practices, and the social or ceremonial role of the inscriptions. Viewers may ask how meaning was conveyed to contemporary audiences and why this location was selected.

Critical analysis of a Musnad script using Perkins’ model.

The script consists of 29 discrete characters written from right to left; unlike modern Arabic, these characters do not connect, and their forms remain consistent regardless of position within a word. Musnad inscriptions lack diacritical marks and punctuation, and some employ vertical separators to distinguish between lexical units (Mabrouk and Shata, 2010). Archaeological evidence indicates that Musnad was widely used across both southern and northern Arabia, including Hijaz, before gradually overlapping with the expanding influence of Aramaic across the Fertile Crescent (Guagnin et al., 2025). This interaction contributed to the evolution of early Arabic script forms that emerged in multilingual and multiscript environments. Comparative studies further reveal shared structural features between Musnad and Phoenician, with the earliest fully developed inscriptions of both scripts dating to the 9th–10th centuries BCE (Mabrouk and Shata, 2010). Collectively, the corpus of Musnad inscriptions constitutes a significant cultural and historical legacy for the KSA, enriching the scholarly understanding of ancient Arabian civilizations and illuminating the trajectory of writing systems that preceded the development of Arabic script (Guagnin et al., 2025).

4.2.2 Human and animal figures

Saudi Arabian rock art features an extensive range of human and animal representations that reflect the cultural, symbolic, and environmental dimensions of life on the Arabian Peninsula. Scholars note that human figures became prominent after the Stone Age, often symbolizing hunting practices, social activities, and expressions of power and status (Turkestani and Shaudhry, 2024; Jan, 2025). These figures are typically schematic rather than naturalistic, and are reduced to geometric and symbolic lines that retain only the essential identifying features of the human or semi-human form (UNESCO, 2022). Research shows that ancient communities engraved scenes of daily life—including dancing, vegetation, and festive gatherings—yet many of these depictions remain visually ambiguous and open to interpretation, with gestures such as raised hands potentially indicating greeting, dance, or prayer (Turkestani and Shaudhry, 2024; Tantawy et al., 2024). Weapon imagery is also common across multiple sites, with spears emerging as the most frequently depicted tool (approximately 62 examples), followed by bows and arrows, which consistently appear in association with human figures (Jan, 2025). In Table 3, the researcher used critical analysis of human and animal figures using Perkins’ model for analyzing of the rock art images. In addition to depicting humans, Saudi Arabian rock art portrays a wide range of animals native to desert environments, including camels, cattle, gazelles, dogs, snakes, lizards, and goats (Tantawy et al., 2024). Among these, camels are the most prominently represented because of their historical, economic, and social values, and their images are often accompanied by Bedouin inscriptions and tribal symbols that denote ownership and identity (Turkestani and Shaudhry, 2024). Collectively, these human and animal figures offer critical insight into the cultural practices, environmental contexts, and symbolic systems of ancient Arab societies.

Image (Abulhab, 2025)	Perkins’ phase	Analysis of the rock art image
	1. The Observational (Looking Closely)	The image shows petroglyphs carved into a brown rock surface. Light-colored figures depict animals (possibly camels, ibex, or deer) and simplified human forms arranged horizontally.
	2. The Analytical (Looking for Meaning)	Repetition of animal figures suggests hunting or herding scenes. Human figures with raised arms may indicate rituals or communication. Differences in scale point to symbolic rather than realistic representation
	3. The Interpretive (Looking for Meaning Beyond the Surface)	The rock art likely reflects prehistoric desert life, where animals played a central role in survival. The carvings may have served as storytelling, spiritual expression, or records of daily life.
	4. The Reflective (Looking Back and Beyond)	The artwork holds strong cultural and historical value. Despite its simplicity, it effectively communicates human experience, belief, and interaction with nature across time

Critical analysis of human and animal figures using Perkins’ model.

4.2.3 Geometric motifs

In Table 4, the researcher used critical analysis of geometric motifs using Perkins’ model for analyzing of the rock art images. Rock art across Saudi Arabia features a substantial corpus of geometric and non-representational motifs carved onto mountain surfaces that reflect diverse artistic traditions and symbolic expressions. Studies have documented a wide range of geometric designs, including circles, squares, and triangles that appear consistently throughout these inscriptions (Turkestani and Shaudhry, 2024; Ocal, 2016; Khan and McCarthy, 1993). These motifs often emphasize visual principles such as movement, repetition, and emphasis, suggesting deliberate aesthetic choices by ancient artists (Khan and McCarthy, 1993). Research has further indicated that abstract geometric patterns are common in rock engravings and paintings created by early communities, illustrating both cultural expression and artistic experimentation (Korpershoek et al., 2024). Collectively, these geometric motifs contribute to a broader understanding of symbolic and artistic practices in ancient Arab rock art traditions.

Image (Abulhab, 2025)	Perkins’ phase	Analysis of the rock art image
	1. The Observational (Looking Closely)	The researcher observes concentric circles carved into rock, varying line depths, natural stone texture, surface weathering, cracks, and surrounding markings
	2. The Analytical (Looking for Meaning)	The researcher recognizes repetition, symmetry, circular geometry, central focal point, and intentional carving techniques.
	3. The Interpretive (Looking for Meaning Beyond the Surface)	Carving may represent time, cosmology, ritual space, navigation, or communal symbolism in heritage contexts
	4. The Reflective (Looking Back and Beyond)	The researcher connects the image to ancient cultural practices, heritage preservation, oral traditions, or compare it with other rock art traditions

Critical analysis of geometric motifs using Perkins’ model.

4.3 Theme 3: develop and analyze innovative design inspired by AlUla rock art through the utilization of procreate and FashionDraw applications

4.3.1 Procreate application

Procreate is a raster graphics editor application designed specifically for digital painting (Procreate, 2024). According to Ismail (2024), Procreate aims to emulate the tactile sensation of a physical drawing, while harnessing the practical benefits of a digital environment. It serves as a digital illustration tool optimized for operation on digital tools, such as tablets and smartphones, offering users a myriad of advantages in digital workflows. Procreate facilitates efficient editing, artistic creation, and instant sharing. It strives to replicate the familiar experience of using brushes and pens on traditional paper (Procreate, 2024). Procreate provides a comprehensive library of customizable brushes, enabling researchers to tailor artistic tools to meet specific creative needs. It features a sophisticated layered system that facilitates the creation of intricate compositions, along with a diverse selection of digital effects and filters. In addition, the ColorDrop functionality allows researchers to instantly apply vibrant colors to artwork through a straightforward drag-and-drop motion.

4.3.2 FasionDraw application

The FashionDraw application, which was established in 2008, was developed as a comprehensive resource tailored for fashion professionals (FashionDraw, 2025). These motifs were transferred from Procreate to FashionDraw to create fashion figures, resulting in a six-item fashion design collection inspired by AlUla’s rock art. This application helped the researcher create designs and illustrations, and streamlined the design process with technical brushes and materials. The researcher found features of the FashionDraw Application were: (1) availability of fashion templates; (2) inclusion of material brushes to replicate fabric textures; (3) provision of technical brushes intended for production drawings; (4) layouts designed for presentation boards; and (5) instructional tutorials focus on fashion illustration techniques.

4.3.3 Innovative fashion designs

The results of this study show six innovative designs using Procreate and FashionDraw, inspired by AlUla rock art, including a collection featuring a T-shirt, an abaya, a scarf for men, a scarf for women, a hoodie, and a jacket.

4.3.3.1 Design (1): T-shirt: men

The design features a men’s t-shirt that incorporates a triangular shape inspired by Hegra and Musnad scripts from rock art. The researcher translated the name of Motasem from Arabic to Musnad. The t-shirt was designed in white with the font rendered black and a triangular shape in brown. Table 5 lists the sources of inspiration and details of the ornamentation created using the Procreate application as well as shows a t-shirt within the fashion design context developed using the FashionDraw application.

Source Musnad script	New design	Illustration of a T-shirt (designed by author)

Source and ornament details Musnad script (designed by author).

4.3.3.2 Design (2) abaya: women

As shown in Table 6, the abaya is a traditional garment worn by women as part of Islamic culture and identity in Saudi Arabia, designed to cover the entire body and features front-hand openings. Table 3 shows that the design incorporates a contemporary interpretation of the abaya, which draws inspiration from geometric motifs commonly found in rock art, namely circles and triangles, as shown in the accompanying table. The color palette of the abaya is predominantly brown, with purple ornamental details obtained using the Procreate application. Furthermore, the accompanying figure illustrates the abaya in fashion design format, utilizing the fashion design application.

Source of geometric motifs	New design	Illustration of an al-abaya (designed by author)

Source and ornament details of abaya (designed by author).

4.3.3.3 Design (3) hoodie

A hoodie is designed as a unisex casual sweatshirt, distinguished by an attached hood that accommodates wearing it covers the head and is complemented by long sleeves. The primary design element is featured on the back of the hoodie, which incorporates text translated from Arabic into Musnad script. The designer replicated the motif design, which consisted of two human figures and a Musnad script influenced by AlUla’s rock art. The Musnad script occupies a central position within the design, although variations in name and color exist. Customers were presented with the opportunity to select any name they wished to embrace in the Musnad script at the center of the design. Table 7 illustrates the ornamentation designs inspired by AlUla rock art, showcasing options for including male customer names, such as “Hossam,” using the Procreate application. The hoodie is black, and the ornamental details are green.

Source of Musnad script human figure	New design	Illustration of a hoodie (designed by author)

Source and ornament details of a hoodie (designed by author).

4.3.3.4 Design (4) scarf: men

Table 8 shows a scarf of 160 × 80 cm, which is typically rectangular and worn around the neck for warmth and winter reasons. The scarf was designed as a cotton men’s item. Table 8 presents the details of the design motifs, which consist of animal figures (camels) and random letters in the Musnad script inspired by the rock art of AlUla.

Source animals’ figure and Musnad script	New design	Illustration of men’s scarf (designed by author)

Source and ornament details of a men’s scarf (designed by author).

4.3.3.5 Design (5) scarf: women

Table 9 shows a 180 × 180 cm scarf for women, typically square-worn and wrapped around the shoulders and upper body as a shawl or stole to provide warmth and convey a winter style. In addition, the scarf can be styled creatively, as wool tops. The details of the design motifs, which consist of two human figures between these figures, the AlUla letters of the Almud script inspired by the rock art of AlUla.

Source of Musnad script human figure	New design	Illustration of women’s scarf (designed by author)

Source and ornament details of a women’s scarf (designed by author).

4.3.3.6 Design (6) jacket: women

Table 10 shows a jacket designed to provide warmth, protection, and a winter style. It features long sleeves and front openings and closures, such as buttons. Jackets made from wool present the details of the design motifs, which consist of shapes inspired by the rock art of AlUla.

Source of geometric motifs	Ornament details new design	Illustration of women’s scarf (designed by author)

Source and ornament details of a women’s jacket (drawing by author).

5 Discussion

The findings of this study demonstrate how CI theory and PBL can be effectively combined to transform cultural heritage into contemporary fashion design outcomes, particularly AlUla rock art. Across both themes, the results reflect a coherent pedagogical process in which students engaged in interdisciplinary inquiry, visual analysis, digital skill-building, and culturally grounded creative production.

5.1 Integrating cultural heritage, fashion, and technology through CI theory

CI has become increasingly important in such disciplines as cultural heritage, fashion studies, and technology, all of which require interdisciplinary literacy and the ability to transfer knowledge across fields. CI theory has enabled the development of a course that bridges cultural studies, fashion design, and digital technology. The seven-module course aligns learning objectives, activities, and assessments to support interdisciplinary competencies. This is in line with prior scholarship emphasizing CI as a means of helping students see connections across domains and apply knowledge in meaningful real-world contexts (Beane, 1995; Ahliana et al., 2025; Jacobs, 2010).

The results show that the researcher developed a deeper understanding of cultural heritage by critically analyzing AlUla’s motifs—Musnad script, geometric shapes, and human and animal figures—before translating these motifs into contemporary textile and fashion applications. This demonstrates the potential of the integrated curricula to support both conceptual knowledge (heritage, symbolism, and history) and applied competencies (digital illustration and fashion prototyping). These findings support the argument that CI fosters creativity, critical thinking, and a culturally informed design processes (Naharia et al., 2024). Morales (2005) indicated that digital technology significantly enhances creativity and innovation skills among learners in the 21st century. The integration of digital technology helps students develop creative thinking, improve their problem-solving abilities, and increase their adaptability. These technological advancements have ushered in a new era of developments in such fields as computer science, education, heritage, fashion, design, and lifestyle.

5.2 The role of project-based learning in transforming heritage into fashion

PBL is the primary instructional strategy for guiding researchers through exploration, interpretation, experimentation, and design implementation. This echoes the view of Hazard et al. (2025), who argued that PBL requires learners to engage in sustained inquiry and produce meaningful artifacts that demonstrate learning. In this study, the researcher engaged directly with AlUla’s cultural landscape through documentation, site visits, museum exploration, and digital research. These activities supported deeper cultural literacy and contextual understanding, key components of heritage-based design practice (Holzenthal, 2008; Perkins, 1994). Perkins’ model further strengthened the analytical process by helping move from simple visual observation to interpretive reasoning and reflective meaning-making. The results demonstrate that PBL promotes learner autonomy, problem-solving, and iterative visual experimentation. The researcher transferred the rock art motifs into digital sketches using Procreate and completed the final fashion designs using the FashionDraw application. The creation of six final garments—T-shirt, abaya, hoodie, two scarves, and jacket—illustrates how PBL supports the translation of cultural motifs into innovative design solutions.

5.3 Significance of rock art motifs in design innovation

The integration of these motifs demonstrates how ancient heritage can inform modern design while preserving its authenticity and cultural significance. This supports the growing scholarly emphasis on heritage-inspired design as a method of cultural preservation and innovation (Holzenthal, 2008; Hazard et al., 2025). Consequently, while recognizing the aesthetic dimensions of fashion artifacts and imagery, fashion exhibitions emphasize the discourse surrounding the label “Made in.” This narrative highlights the processes of creation, production, and circulation of fashion cultures, thereby establishing connections between artifacts and individuals. In the contemporary, fast-paced fashion industry, cultural heritage contributes to authenticity and creativity by bridging the past and present, thereby contributing to the preservation of tradition and fostering innovative ideas. Specifically, the characteristic motifs found in AlUla rock art are rich in symbolism and diverse thematic expressions. The term “rock art” generally refers to the practice of painting and engraving on rock surfaces. A thorough understanding of art encompasses the prehistoric forms of painting and engraving found in these rocks (Jacobs, 2010). In fashion design, the integration of cultural heritage enhances sophistication and enriches both the aesthetic and conceptual depths of collections such as those incorporating Musnad scripts derived from rock art in Saudi Arabia.

5.4 Digital tools as bridges between tradition and innovation

Procreate and FashionDraw play a central role in enabling students to reinterpret historical motifs using contemporary digital methods. These applications support layering, pattern iteration, color experimentation, and technical rendering, all of which are essential in digital fashion workflows. Thus, the application of new media and digital technology encourages younger generations to appreciate the allure of traditional costume culture (Clark and de la Haye, 2013). The findings highlighted how digital tools can replicate traditional drawing techniques while enhancing efficiency and creative flexibility. This aligns with the prior literature asserting that digital applications expand the possibilities of artistic creation and design prototyping (Ahliana et al., 2025). By combining cultural heritage studies with digital illustration platforms, students were able to modernize ancient motifs without compromising their cultural integrity, a balance essential in ethical heritage-based design.

5.5 Pedagogical implications

The study’s results suggest several important implications:

• CI theory strengthens interdisciplinary design education, particularly when cultural heritage is the central theme.

• PBL fosters deeper engagement, allowing students to transform cultural exploration into tangible, creative work.

• Perkins’ model enhances visual literacy, and guides students through structured observations, analysis, and reflection.

• Digital tools democratize access to design experimentation, making heritage-based innovation more accessible to learners.

• Designing with heritage promotes cultural continuity, reinforcing identity and connection to local history.

Collectively, these outcomes demonstrate that combining CI theory, PBL, and digital design tools provides a highly effective framework for heritage-informed fashion design education.

6 Conclusion

This study aimed to apply a CI theory to explore how educators can effectively integrate fashion design, heritage, and technology to enhance learning outcomes. In addition, it examines the innovative transformation of AlUla rock art using modern digital technologies, such as Procreate and FashionDraw within a project-based learning (PBL) framework. This study used a qualitative experiential case study approach. Data collection methods included the observation and analysis of documentation, artifacts, and drawing technology tools. Perkins’ model of understanding, which evaluates learning through knowledge, practice, and reflection, offers a structured way to critically analyze how well course design supports deep understanding in these intersecting domains. The findings yielded two principal themes: (1) applying CI theory to design on cultural heritage, fashion, and technology in PBL, (2) explore and analyze cultural context of the rock art of AlUla using Perkins’ model, and (3) developing Innovative fashion collections inspired by AlUla rock art through technology.

There are numerous heritage sites where teachers can serve as sources of inspiration for fashion design students, not only within the context of Saudi Arabian culture but also across various cultures worldwide. This study underscores the significance of integrating technology into design processes, as it serves as a crucial resource that assists both instructors and students in selecting the most appropriate tools for their design endeavors. Although this study acknowledges the existence of diverse forms of heritage globally, it also suggests that students should select a specific heritage type to inspire fashion design. Consequently, educators should integrate elements of heritage, fashion, and technology into their curricula to facilitate the transition from traditional classroom settings to more open experiential learning environments that foster a deeper understanding of different cultures and heritages.

6.1 Limitations

The limitations of this research are as follows:

• The study was constrained by a one-year timeframe, which included the observation of heritage in AlUla, design analysis, and the application of an experiential approach. A one-year timeframe limits the study of cultural heritage, as it cannot fully capture seasonal changes, historical complexity, and community connections. This short duration restricts the depth of observations, design analysis, and the use of experiential methods.

• The research used two specific technological tools, yet numerous additional tools remained unexplored. Relying on just two technological tools narrows the range of insights. Advanced tools such as 3D scanning, virtual reality, and AI analysis could yield richer data and innovative approaches, but they would limit the study’s technological breadth.

• The geographical scope of this study was confined to the city of AlUla. Focusing solely on AlUla limits the generalizability of the findings. While valuable, AlUla’s heritage cannot represent the diversity of other sites in Saudi Arabia and beyond, which limits the insights for heritage-inspired fashion design. These limitations underscore the presence of numerous significant heritage sites that could serve as a source of inspiration for fashion design students, not only within the context of Saudi Arabia, but also across diverse cultures.

These limitations indicate a focused yet incomplete exploration of heritage-inspired fashion design, highlighting opportunities for further research and expanded studies.

6.2 Recommendations

Recommendations for faculty in art and design education include the creation of classrooms that enhance student engagement and interaction. Specifically, (1) instructors should be applied CI theory in art and design courses; (2) students should be encouraged to express unique inspirations derived from other global heritage sites within fashion design pedagogy; (3) technology should be incorporated into the fashion design and heritage curriculum in higher education; and (4) fashion faculty and students should receive training in technological applications and how to apply CI theory in art.

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