With six types of "non-heritage" technology, the production of products has become licensed goods for the Shanghai World Expo. However, overcoming the "standard pain" was more critical than simply creating a product. Using blue calico as the main material, a simple key bag suddenly gained a southern charm; adorned with blue and white flowers, a sophisticated passport holder also became a symbol of modernity. The "Impression Expo" line, which features blue calico, includes 14 items—from key bags and business card holders to passport folders and fan accessories—each designed for everyday use.
Zhang Jianjun, the lead designer, emphasized that intangible cultural heritage should not just be a symbolic display in museums. Instead, traditional elements like blue printed cloth, once part of daily life in Jiangnan villages, could be fully integrated into contemporary art. But the journey from tradition to modernity is full of challenges. Until a month before the event, the blue printed cloth series remained outside the gates of the Shanghai World Expo. The clash between traditional craftsmanship and modern standards created a real dilemma.
On April 20, during the first trial run of the Expo Park, the sample of the blue printed cloth series was returned by authorities because the Expo emblem on it violated the strict rules regarding its use. “We wanted to express the Expo’s spirit through the unique characteristics of blue cloth, but we didn’t expect to break the rules,†Zhang said. According to the regulations, the Expo logo must be used in its entirety. However, the blue printed cloth version had 11 broken lines, known as "ice cracks," which are a signature feature of the fabric. These breaks, though beautiful, were deemed non-compliant.
This raised a fundamental question: Should traditional techniques adapt to modern standards, or should the standards evolve? Zhang faced a contradiction—while the blue calico design was crafted with care, it had to meet the rigid requirements of large-scale events. After multiple revisions, the final version removed the "broken lines" and replaced them with a faint blue pattern, slightly diluting the original charm.
The issue wasn’t just about the emblem. Blue printed cloth also failed PH value tests. Measured at 10, it exceeded the national textile standard of 9. This was due to the traditional process involving lime and soybean meal, which naturally raised the pH level. For over a thousand years, this method was accepted without issue, yet now it posed a problem.
Color fastness was another hurdle. While the natural dyes used were eco-friendly, they didn’t meet the required durability. To fix this, some manufacturers switched to industrial methods, but that meant losing the essence of the craft. “We tried to be very conservative,†Zhang admitted. “Non-heritage products can adapt to the market, but we can’t lose our identity entirely.â€
Finally, the manufacturer needed ISO certification—a challenge for traditional crafts. Many processes, like sun-drying and pond-dyeing, lacked standardized procedures. “Can the sun have an international standard?†Zhang asked, highlighting the struggle between tradition and modernity.
In total, 27 product standards were developed for the Expo licensed items, including specific guidelines for blue printed cloth. These new standards allowed the fabric to be tested, produced consistently, and finally entered the Expo. Zhang concluded, “Setting standards is essential for the ‘creative survival’ of non-heritage crafts.†Without them, these cultural treasures would remain confined to museums, unable to thrive in the modern market.
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