In the post-pandemic economy, consumer desire is no longer driven solely by products but also by experiences that spark cultural resonance and emotional connection.

As China navigates economic headwinds, a key question emerges: can the integration of culture and tourism serve as a catalyst to boost consumption and ignite new engines of growth, particularly in the fashion and lifestyle sectors?

The month of May — bookended by the May Day Golden Week and the Dragon Boat Festival — has become a vital barometer for evaluating China’s cultural tourism momentum. The surge in domestic travel and experiential consumption during these holidays is not only reinvigorating local economies but also reshaping the urban fashion landscape in unexpected ways.

According to official data, 314 million domestic trips were made during the May Day holiday alone — a 6.4 percent increase year-over-year — generating 180.27 billion yuan (about $24.97 billion) in tourism-related spending, up 8 percent from the previous year. While per capita spending has yet to return to pre-pandemic levels, the rebound in demand signals a clear shift: consumers are prioritizing culturally immersive, emotionally resonant experiences that often intersect with fashion and lifestyle consumption.

Cultural Immersion Meets Fashion Aspirations

Trends such as “reverse tourism” — in which travelers explore lesser-known towns and county-level cities — are gaining popularity. At the same time, attractions centered on the renewal of intangible cultural heritage (ICH) have emerged as major draws. National trend culture is sweeping the country, with searches for ICH-themed tourism surging and ticket reservations for heritage-focused sites up 132 percent year-over-year.

Immersive, hands-on experiences have become particularly attractive to younger audiences. Data from Ctrip shows that workshops like ceramic art classes in Jingdezhen and traditional kesi (silk tapestry) weaving in Suzhou now attract thousands of daily participants. The blending of cultural performance and tourism has turned cities like Henan’s Luoyang, Anhui’s Anqing and Xinjiang’s Kashgar into popular destinations offering deeper, story-rich experiences.

Events such as the Puppet Carnival in Fujian’s Zhangzhou and hand-painted lantern exhibitions in Sichuan’s Zigong Lantern Museum further demonstrate how traditional crafts are being revitalized through design-forward, tourist-friendly formats. In this shift, cultural tourism is not just a leisure activity — it’s becoming a new platform for fashion expression and consumption.

Macao’s Cultural Reawakening and the Rise of Experiential IP

The evolution is not limited to mainland China. In Macao, the May 7 relaunch of “The House of Dancing Water” — a 2-billion Hong Kong-dollar reinvention of the acclaimed show that had been on hiatus for five years — marks a milestone in cultural tourism’s commercial potential. Attended by high-ranking officials and industry leaders, the premiere underscored Macao SAR’s strategic pivot toward “tourism+” as a model for economic diversification.

Lawrence Ho, chairman and chief executive officer of Melco International Development, described the show as a symbol of Macao’s aspiration to fuse entertainment, culture and tourism into a global narrative. The production, co-created with Italy’s Peparini Studios, integrates technological innovation, multicultural storytelling, and a performance ensemble representing over 30 countries — including retired Olympic athletes — into an immersive, fashion-adjacent spectacle.

The show’s impact goes beyond the stage. With advance ticket sales exceeding MOP 180 million (about $115.4 million) and City of Dreams hotel occupancy soaring to 92 percent, “The House of Dancing Water” is expected to draw over 500,000 attendees annually and significantly boost local employment.

Moreover, the performance has established a new commercial ecosystem. Custom-designed costumes (24 sets in total), re-orchestrated symphonic scores and newly introduced characters such as “the Sailor” are driving secondary consumption through merchandise and IP-based fashion collaborations — demonstrating the economic value of experiential culture.

Policy Momentum and Urban Collaboration

Backed by favorable national policies — ranging from tax incentives to funding subsidies and streamlined project approvals — cities across China are actively investing in the convergence of cultural, tourism and fashion economies.

Shanghai is leading this charge. The city’s 2025 “First in Shanghai” campaign, 55 Shopping Festival, and Shanghai Summer international consumption season are all examples of how municipalities are integrating retail activations with cultural programming. The 55 Shopping Festival alone featured 13 high-impact IP events over May and June, including innovative retailtainment experiences and premium business district promotions.

In Beijing, the Municipal Bureau of Culture and Tourism partnered with the Singapore Tourism Board and Pop Mart to launch the “Beijing×Singapore Pop Toy Show Dual City Plan.” Running from May 31 to June 20, the collaboration will explore the fusion of pop culture, fashion toys, and urban tourism through landmark activations in both cities — highlighting how trendy IPs can fuel cross-border cultural consumption.

From Soft Power to Hard Value

In today’s globalized economy, cultural exchange is more than a diplomatic nicety — it is a strategic growth engine. The true revitalization of a city is not defined by skyscrapers or mega-malls, but by its ability to inspire, engage, and convert cultural energy into commercial and social value.

As cities continue to experiment with immersive formats and fashion-forward cultural tourism, the potential to unlock new consumption models is clear. The chemical reaction between culture, tourism, and fashion is still evolving — but its impact on sustainable growth could be profound.

Editor’s Note: China Insight is a monthly column from WWD’s sister publication WWD China analyzing key trends in that important market.