International Journal of Food Design - Current Issue

To improve meals for people with dysphagia, we explored the views of people with dysphagia, their supporters and allied health professionals on a range of food design strategies (e.g. food shaping and food presentation techniques), including 3D food printing. From November 2021 to February 2022, an online survey of (1) adults with dysphagia (n = 30) and (2) supporters of people with dysphagia and allied health professionals (n = 22) was conducted. The survey included multiple choice, Likert scale and open-ended questions. Data was analysed descriptively. Most participants across the two groups had used at least one food design strategy for texture-modified foods and none had used 3D food printing. People with dysphagia were less likely to use food shaping techniques in preparing their texture-modified meals than other respondents. Supporters of people with dysphagia and allied health professionals were more likely than people with dysphagia to use food shaping techniques and to consider that 3D food printing could improve the visual appeal and enjoyment of texture-modified foods. A range of issues impacting the feasibility of 3D food printing were identified. The use of food design strategies for texture-modified foods may increase the food choices and mealtime enjoyment of people with dysphagia. Further research exploring how people with dysphagia and their supporters engage with 3D food printing could identify further influences on their future use of these technologies.

The artefacts of tableware have been designed to facilitate the essential and ineluctable daily practice of dining in western and Chinese cultures. Apart from performing their function, the artefacts also reflect the corresponding cultures. This study investigated how the artefacts of fork and knife vs. chopsticks daily embody and present western and Chinese cultures, respectively, as evidenced by literature and everyday life practice. Owing to complementary considerations, this study combined etic and emic approaches by applying individualism and collectivism and Chinese cultural concepts including guanxi, mianzi and yin yang as the theoretical framework. Driven by individualism, fork and knife capture features of specialization, division of labour, equality and expressiveness in western culture. On the contrary, powered by collectivism, chopsticks epitomize attributes of harmony, unity and complementarity in Chinese culture. Moreover, instead of being objectified and passive artefacts, this article argued that fork and knife vs. chopsticks have implicitly and reversely shaped the thoughts and deeds of their users in their respective cultures.

Rituals are part of the consumer experience of goods, especially food and drink, and can contribute to consumer enjoyment of and fidelity to a specific product. However, we lack detailed description of food/beverage-related rituals and their potential impact on consumer perceptions, in particular whether and how communicating those rituals to consumers influences their attitudes. Here we use coffee as an example of a ritualized product within the UK market to explore this potential relationship and identify opportunities for design. In Study 1, we identified rituals associated with coffee preparation and consumption. In Study 2, we found that several procedural aspects of the rituals identified in Study 1 were not consistently conveyed in coffee advertising, indicating a potential gap in communication with consumers. In Study 3, we showed that communicating such rituals to consumers resulted in significantly greater willingness to pay for coffee, mediated by perceptions of social attention. This work connects growing interest in the psychological mechanisms of ritual with work on consumer perceptions and behaviour and carries significant implications for the design of messaging around food experience.

Disgust is a strong emotion influencing human behaviour in many domains, including food choices. For example, many western consumers are hesitant about eating insects. This is understandable as insects have been connected with the emotion of disgust. We conducted two design workshops to gain a better understanding of factors that can give rise to the emotion of disgust in the context of grasshoppers and explore alternative food design solutions. Based on the insights, we created four design fiction examples to illustrate how disgust can be an integral part of grasshopper consumption. We argue that changing the attitude of Europeans towards novel food items like grasshoppers requires exploring design strategies that neither solely focus on the sustainability benefits of insect consumption nor take disgust to be something that must be circumvented.