The textile and fashion industry is the second industry (after aviation) that pollutes the planet the most, and it uses natural and human resources excessively and irresponsibly. Fast fashion harms the environment. Fast fashion stands for low quality, low prices, constantly updated supplies, and high consumption of natural resources and chemicals. Nowadays, however, the evolution in the fashion industry from fast and unsustainable models to sustainability and a circular economy is firmly established. Fashion industry representatives are paying more and more attention to corporate social responsibility, business ethics, the implementation of circular economy principles, and the technological transition from linear production to a circular economy. The aim of this article is to evaluate the attitude of young Lithuanian designers towards the implementation of circular economy principles in the fashion industry. A problematic question is raised: how do young Lithuanian designers perceive sustainable fashion in the context of a circular economy? A qualitative semi-structured interview was used to collect data for the empirical study. The analysis has shown that the transition of the textile and fashion industry to a circular economy is a rather complex process that requires knowledge, significant financial investment in technological change, and greater consumer purchasing power in the production of products based on a circular economy. Moreover, new brands in the fashion industry do not always have enough information to start a business in the fashion industry based on a circular economy. A qualitative study conducted in Lithuania using the interview method showed that young Lithuanian fashion designers are very positive about sustainability solutions in the fashion industry and try to link their developing fashion brand with sustainability, but this is done fragmentarily rather than consistently. Young fashion designers state that they lack the in-depth knowledge and money to develop a brand in a circular economy. In conclusion, young Lithuanian fashion designers strive to create a sustainable fashion brand and link their development activities to a circular economy in a fragmentary way. Even after the research has been conducted, the question of how to get fast fashion manufacturers to produce sustainable fashion in Lithuania remains open.

The proposed research aims to investigate the concept of creative urban sustainability. We asked, what are the factors conditioning creativity in spaces where cultures meet in cities and how do they stimulate urban sustainable development. The empirical material analysed are the results of interviews conducted with cultural managers. We introduce philosophical and sociological approaches based mainly on criticism of writing and the analytical and synthetic method. In the framework of the creative city we illustrate Lublin’s model of spatial innovations, in which culture and creativity have convergence with economic development. We conclude with a conceptual discussion of the creative urban sustainability problems. In particular, we reveal how these issues could help in shaping a theoretic consensus about the function of spaces planning in sustainable development strategies emphasising the importance of creativity as a social resource and also as an agent of social and economic change.

The objective of the undertaken study is to investigate the sustainability of creative economy and present a case study providing the main findings on the linkages between creative economy and sustainable development. The in-depth literature review of the creative economy and sustainable development offered the main insights in the development of the case study hypotheses. A case study on the biggest music festival that was organised in Lithuania is provided. The findings confirm that creative economy can be environmentally sustainable, and the customers identified their clear preferences for sustainability criteria in music festivals; however, not all these preferences are properly addressed by the organisers of cultural events, as it was revealed by this case study. The results of a quantitative study show that the festival participants are increasingly expressing the need for sustainable music festivals, but organisers have not yet taken the necessary actions to address this need. It is likely that, in the near future, the festival organisers in Lithuania will have to start applying various sustainability criteria during the festivals in order to attract more visitors and generate more income from such events as well to ensure environmental safety. The practical implications of conducted study are equally important for all stakeholders, such as the community, policymakers, companies, and regulatory agencies that are concerned with the implementation of sustainable development practices.

This article explores the issues surrounding the removal of Soviet-era sculptures on the Green Bridge in Vilnius, Lithuania. We present the historical circumstances of both the Green Bridge and its sculptures, examine the decision to reverse their destruction, compare the case with similar cases in the Baltic states, and consider whether the Soviet heritage should and could be protected from the politically motivated destruction of art. We also critically examine the opinions, pro et contra, as well as the political circumstances surrounding the removal of the sculptures. Along with other scholars, the authors discuss the Soviet heritage and post-Soviet memory.