With six "non-heritage" technology-based product developments, the blue printed cloth became official licensed goods of the Shanghai World Expo. However, during the process, overcoming the "standard pain" was more critical than simply producing the items. A simple key bag, for instance, suddenly carried a southern charm; a passport holder adorned with blue and white patterns exuded a quiet elegance. These were part of the "Impression Expo" product line, which used blue calico as its main material, featuring 14 items ranging from keychains, business card holders, to passport folders and fan sets—everyday essentials that people could easily use.
The lead designer, Zhang Jianjun, emphasized that intangible cultural heritage should not just be a symbol displayed in museums. Instead, it should be integrated into modern life. Blue printed cloth, once a part of daily life in Jiangnan water towns, could now find its place in contemporary design. But the journey was not smooth. Until a month before the Expo, the blue printed cloth series was still struggling to meet the requirements of the event.
On April 20, during the first trial run at the Shanghai World Expo Park, the blue printed cloth samples were rejected again because the Expo emblem on them violated the strict logo usage rules. "We wanted to express the essence of the Expo through the unique characteristics of blue cloth, but we didn’t expect to break the rules," Zhang said. According to the regulations, the Expo emblem must be used in its entirety. However, the traditional dyeing technique used on the blue cloth resulted in 11 broken lines—known as "ice cracks"—a poetic feature of the fabric. This contradiction left the team in a dilemma: Should they preserve tradition or conform to modern standards?
After multiple revisions, the final version of the emblem had no broken lines, with the "ice cracks" replaced by a faint blue pattern. The original charm was hard to retain. "Can the sun also have international standards?" Zhang asked, reflecting on the challenges faced by over 1,300 years of blue calico history. It had been returned multiple times due to standard issues, such as pH value testing. In one case, the PH level reached 10, exceeding the national textile standard of 9. The traditional method, using lime and soybean meal as dyes, naturally raised the pH, something ancient artisans never considered.
Another issue was color fastness. Though natural dyes were eco-friendly, they didn’t meet modern standards. To fix this, the team had to switch to industrial methods, but that meant compromising on authenticity. "We are very conservative," Zhang admitted. "Non-heritage products differ from 'non-legacy' itself. We can adapt to modern needs, but we can't give up entirely."
Finally, the manufacturer needed ISO certification, but the uniqueness of traditional craftsmanship made it difficult to meet international quality standards. "In many traditional processes, the sun and pond are essential steps, but can the sun also have an international standard?" Zhang questioned.
Ultimately, 27 product standards were established for the Expo licensed goods, including specific guidelines for blue printed cloth. These standards aligned with the fabric’s technical features, allowing it to be tested and controlled in production. As a result, blue printed cloth successfully entered the Expo.
"Setting standards is a necessary prerequisite for the 'creative survival' of non-heritage crafts," Zhang concluded. "Without our own standards, non-heritage can't compete in the modern industry. There's no way to test without a standard." He stressed that intangible cultural heritage exists between universal uniqueness and common standards. For Shanghai's cultural and creative enterprises, bridging this gap is crucial.
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