Traditional Chinese craftsmanship is reborn through youthful innovation and rising international demand.

The National Exhibition and Convention Center in Shanghai was bustling with visitors attending the 7th China International Import Expo (CIIE).

Among the many displays, the booth of xilan kapu — the Tujia ethnic group's distinctive brocade, meaning "flower bed cover" in the Tujia language — stood out with its vibrantly colored scarves, hand-embroidered framed pieces, and creatively designed earrings and brooches.

At the booth, 32-year-old Ma Qingkai enthusiastically introduced the products to visitors. Ma, a young entrepreneur married to a Tujia woman, has spent the past three years, together with his wife, turning xilan kapu, a national-level intangible cultural heritage, into a contemporary brand.

Named Yijin Qiannian (A Millennium in Brocade), the brand aims to bring together cultural depth and modern market appeal.

At this year's CIIE, his efforts are already paying off. Within the first day alone, he received several purchase inquiries, and cultural export businesses expressed interest in bringing his handmade shawls and bags to markets in France and Italy.

"The CIIE has also boosted our online visibility — many people have started reaching out through digital platforms to place orders," Ma said.

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Wang Qin, 35, an inheritor of Taizhou embroidery, has observed the same trend. "This year, there's been a noticeable increase in foreign buyers' interest in Chinese cultural products. Many luxury brands have approached us seeking collaboration," she said.

Wang, who comes from Taizhou in Zhejiang province, learned the craft from her mother — a national master of arts and crafts in Taizhou embroidery — and founded her own clothing brand, Ting Tang, in 2019. This year marks the brand's third appearance at the CIIE.

According to her, unlike many other traditional Chinese embroidery styles that emphasize intricate complexity, Taizhou embroidery embraces a "less is more" aesthetic.

"We focus on the art of subtraction — embroidering on the fabric and then cutting away, pulling threads, or creating openwork in certain areas. Many pieces also use solid colors instead of bright, varied palettes," she explained.

Some visitors say Taizhou embroidery reminds them of Western lace. But while lace is confined to flat, two-dimensional patterns, Taizhou embroidery achieves layered and textured effects through three-dimensional stitching.

"All of these qualities give Taizhou embroidery a unique appeal to global audiences, as Western viewers often find themselves drawn to this kind of aesthetic," Wang said.

Similarly, xilan kapu also has strong contemporary appeal. According to Ma, its traditional motifs — though rooted in the ancient Ba civilization during the Shang (c.16th century-11th century BC) and Zhou (c.11th century-256 BC) dynasties — naturally resonate with modern international design trends because they are abstract, concise, and highly expressive.

Featuring dragons, phoenixes, flora, furniture, birds, beasts, and even mythological tales, the patterns carry rich symbolic meaning, earning xilan kapu the name "wordless epic" among the Tujia people, Ma said.

"The popularity of xilan kapu at the CIIE makes me believe that we have a real opportunity to establish China's own international fashion brand," he added.

Empowered by youth

However, it was a completely different story 20 years ago. Since China's first batch of intangible cultural heritage items was listed in 2006, their market presence remained limited for a long time, largely due to the lack of young people's involvement. Ma recalled that he often made no sales at all when he first showcased traditional pieces at exhibitions.

"Being labeled as 'intangible cultural heritage' implied that these works were incompatible with the market economy — something at risk of fading away and in need of protection," he explained. "We realized the first step was to change that perception."

By researching global color trends and conducting extensive market research, Ma decided to experiment with new fabrics and bold materials — like metal — while preserving traditional patterns, allowing people to see that even "heritage" can embrace innovation.

Wang shares a similar view. "The CIIE has shown that traditional culture can evolve from being a protected, subsidized legacy into a business driven by market demand," she said, adding that market recognition provides sustainable, intrinsic motivation for the development of intangible cultural heritage.

The brand's innovative practices are wide-ranging, with cross-border collaborations playing a crucial role. Its first major venture was a partnership with a Michelin-starred restaurant in Shanghai, where Taizhou embroidery was embedded in glass to create unique plates.

"This experiment opened people's eyes to the possibilities for Taizhou embroidery and broke new commercial ground for us," Wang said. "Since then, we've received invitations for hotel soft furnishings, public art installations, and more."

To attract younger consumers, the brand has brought fresh creative talent into its design process. For example, it has worked with emerging designers to produce thermal cups and car diffusers featuring reinterpreted patterns of the 12 Chinese zodiac signs.

Rendered in playful, cartoon-like styles while retaining the distinctive texture of Taizhou embroidery, these smaller items are priced more affordably than traditional gowns — and have been met with enthusiastic market response, she explained.

Wang has opened two galleries in her hometown, where visitors can not only admire the rich history and exquisite artistry of Taizhou embroidery but also buy products and even try their hand at the craft — a "museum plus retail store" model, as she calls it.

"This is about building foundational awareness among consumers," she explained. "People need to first know what Taizhou embroidery is and appreciate its cultural and artisanal value before they are willing to pay for it."

Having already achieved considerable success, the two young inheritors continue to dream even bigger.

Wang hopes Taizhou embroidery will become "an Eastern treasure recognized worldwide". "Just as lace is synonymous with France, I hope that in the future, when people think of Taizhou embroidery, they will think of China," she said.

Ma believes that China needs its own equivalents of Louis Vuitton and Hermes. His vision is unwavering: "One life, one mission: to create China's top-tier luxury brand".

"Some might see this as overly ambitious," he added. "But China has the legend of Yugong Yishan — the 'foolish' old man who moved mountains. I believe in the power of belief."

Contact the writers at guiqian@i21st.cn