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52
Key Insights

Fashion

World Tourism Organization (UN Tourism)

and Cultural
Tourism

Connecting

Fashion and Cultural Tourism

The World Tourism Organization (UN Tourism), a United
Nations specialized agency, is the leading international
organization with the decisive and central role in
promoting the development of responsible, sustainable
Creators,
Businesses and
and universally accessible tourism. It serves as a
global forum for tourism policy issues and a practical
source of tourism know-how. Its membership includes
160 countries, 6 territories, 2 permanent observers and
over 500 Affiliate Members.

www.unwto.org
Connecting Creators, Businesses and Destinations
Destinations

Università della Svizzera italiana (USI) is a young and

vibrant Swiss public university, founded in 1996. Each
day, around 4300 students and 1400 professors and
researchers from 110+ countries come together across
its four campuses. It conducts cutting-edge research
and offers specialized Master’s programmes in both
Fashion and Tourism. USI is also home to a UNESCO
Chair in ICT to develop and promote sustainable tourism
in World Heritage Sites.

www.usi.ch
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Connecting
Fashion and

and Destinations
Creators, Businesses
Cultural Tourism
 2 Fashion and Cultural Tourism

Copyright: © 2025, World Tourism Organization and All joint publications of the World Tourism Organization and of the
Università della Svizzera italiana Università della Svizzera taliana are protected by copyright. Therefore,
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28020 Madrid, Spain requested at:
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Website: www.unwto.org UNESCO Chair in ICT to develop and promote sustainable tourism in
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Chair of the UN Tourism Research Committee:

Zoritsa Urosevic, UN Tourism Executive Director

UN Tourism authoring Department:

Ethics, Culture and Social Responsibility

UN Tourism editorial team:

Ethics, Culture and Social Responsibility
Market Intelligence, Policies and Competitiveness
Publications Unit

USI – Università della Svizzera italiana team:

UNESCO Chair in ICT to develop and promote sustainable tourism in
World Heritage Sites
Faculty of Communication, Culture and Society
Institute of Digital Technologies for Communication

Design and layout: UN Tourism

Recommended citation:
World Tourism Organization and Università della Svizzera italiana (2025),
Fashion and Cultural Tourism – Connecting Creators, Businesses and
Destinations, UN Tourism, Madrid,
DOI: https://doi.org/10.18111/9789284426287.
 Fashion and Cultural Tourism 3

Table of contents
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Acknowledgements 5

Foreword by the World Tourism Organization (UN Tourism) 6

Foreword by Università della Svizzera italiana (USI) 7

Introduction 8

01 Creativity and fashion 10

1.1 How do creative economy, creative industries and fashion fit together? 11
1.2 A comprehensive framework for fashion 13
1.3 The role of intellectual property rights 14

02 Tourism and fashion 16

2.1 How are culture, cultural heritage and tourism linked to fashion? 17
2.2 Advancing the role of intangible cultural heritage 19
2.3 How can fashion expressions improve cultural tourism and its sustainability? 20

03 From tourism to fashion 22

3.1 How is tourism inspiring or requiring dress codes? 23

3.2 What is the role of accessories, “destinationwear”, fashion items and brand extensions? 24

04 From fashion to tourism 26

4.1 How can fashion inspire tourism experiences within destinations? 27

4.2 How can tourists experience fashion collections and brand extensions? 32
4.3 How can destinations harness the potential of media, technologies and influencers? 34
4.4 Summary of the intersections between tourism and fashion 36
 4 Fashion and Cultural Tourism

05 Case studies 37

5.1 Fashion tourism and traditional artisanship driven by indigenous communities:

Tanzania and Peru 38
Case study 1: Cultural creators at community level as key allies in destination branding –
Tanzania 39
Case study 2: Women as champions of indigenous textile production – Peru 42
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5.2 Combining tradition with innovation in fashion tourism experiences:

Republic of Korea, Indonesia, Switzerland and Lebanon 44
Case study 3: Fashion and beauty sectors shaping cultural tourism – Republic of Korea 45
Case study 4: The cultural expression and promotion of batik making – Indonesia 48
Case study 5: Watch making craftspeople partnering with DMOs – Switzerland 50
Case study 6: The art of soap-making empowering local communities – Lebanon 52

5.3 Untapping the potential of fashion events and cultural experiences to attract tourists:
Nigeria and Tuscany (Italy) 54
Case study 7: African fashion events attracting domestic and international tourists – Nigeria 55
Case study 8: Tuscan craftsmanship and cultural experiences opting for sustainability – Italy 57

5.4 Harnessing the power of investment in marketing in fashion-related initiatives:

Only in Madrid (Spain) and Original (Mexico) 59
Case study 9: Only in Madrid Campaign promoting good governance – Spain 60
Case study 10: Promotion of artisanal craftsmanship through the Original movement – Mexico 62
Case study 11: Fashion renaissance and innovation creating opportunities for tourism –
Saudi Arabia 64

06 Recommendations for public administrations and destinations 66

Annexes 72

Questionnaire used for the preparation of this publication 73

Acronyms and abbreviations 76
References and bibliography 77
 Fashion and Cultural Tourism 5
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Acknowledgments

This publication was jointly commissioned by UN Tourism

and USI – Università della Svizzera italiana. The report
was produced by Lorenzo Cantoni, professor at USI, as
well as UNESCO Chair in ICT (Information Communication
Technologies) to develop and promote sustainable
tourism in World Heritage Sites. The publication was also
co-written, edited and coordinated by Igor Stefanovic,
Technical Coordinator of the Ethics, Culture and Social
Responsibility (ECSR) Department at UN Tourism, and
Giorgia Ventura, Project Associate at ECSR.

We would like to extend our thanks for the technical

revision and content inputs to Sandra Carvao, Lorena
Villar, Susana Costa Resende and to Juliana Contreras for
editing and proofreading of the report. We also extend
our gratitude to the Executive Director Zoritsa Urosevic,
supervisor of the ECSR Department, for her support in
carrying out this research.

UN Tourism staff and technical experts express their

gratitude to all those who contributed with their
experience to the case studies contained within
this publication on Fashion and Cultural Tourism –
Connecting Creators, Businesses and Destinations,
especially: Laura Ahmad, Malak Alsanea, Amir Hassoun,
Marta Javarone, Mustapha Maulid, Pilar Montesinos,
Thereza Mugobi, Marina Nuñez Bespalova, Deborah Park,
Yolanda Perdomo, Puspita Ayu Permatasari, Francesco
Tapinassi and Matthey Vincent.

Professor Lorenzo Cantoni would like to extend his

special gratitude to the ISEM Fashion Business School in
Madrid, for hosting him on sabbatical leave in 2024 while
researching for this publication.
 6 Fashion and Cultural Tourism

Foreword
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by Zurab Pololikashvili
Secretary-General,
World Tourism Organization (UN Tourism)

The creative industries – including visual arts and Despite the rise of globalization and e-commerce, there
crafts, music, performing arts, cinema, literature, design, remain many cultural products, such as textiles, garments
fashion and more – are diverse and influential. Over the and accessories, which are best purchased where they
past decade, appreciation of their impact on tourism are created. These products embody the cultural heritage
development and their integration into the tourism value of the places and communities where they are made.
chain has increased significantly. But while UN Tourism They may serve as a gateway to exploring dedicated
has acknowledged the role of the creative economy, there museums and exhibitions, indigenous communities’
has nevertheless been a relative lack of comprehensive cultural creators, folklore and performing arts. Additionally,
research into this area over recent years. different fashions may nurture the imaginations of
potential tourists when planning to visit a destination.
Shopping tourism was researched in previous UN Tourism
publications, with the focus on the fashion and luxury This report aims to illustrate how creative industries and
sectors. However, it did not explore the human and tourism can work together to preserve, celebrate and
cultural dimensions of fashion. In response, conversations innovate cultural heritage. I wish to thank all authors and
between Professor Lorenzo Cantoni from USI – Università contributors, in particular USI, with whom UN Tourism
della Svizzera italiana – and UN Tourism highlighted the has co-published this report. I am confident their work
need to produce a baseline document exploring the will help further advance the positive impacts of creative
links between the creative economy, fashion and cultural industries on the sustainable development of tourism.
tourism. The three benefit from a deep relationship,
presenting significant opportunities for mutual growth
and sustainable development.
 Fashion and Cultural Tourism 7

Foreword
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by Luisa Lambertini
Professor, Rector
Università della Svizzera italiana (USI)

It is an honor for USI – Università della Svizzera italiana – to both Tourism and Fashion are closely connected with
co-edit this publication with UN Tourism. USI has entered heritage and culture, as well as with the creative industry
the field of Tourism education and research already in sector; they offer deep personal experiences – full
2003, when it launched its first Master programme in of learning, of transformations and memories – while
International Tourism, which has been attended so far the related sectors do collaborate creating synergies
by more than 450 students from 60 different countries. and cross-pollinations. The two domains, if properly
In the meanwhile, our university has become home to a managed, can provide a major contribution to sustainable
UNESCO Chair in ICT to develop and promote sustainable development; at the same time, both are facing main
tourism in World Heritage Sites (since 2013) and, in the sustainability challenges – encompassing all dimensions
period 2014–2018, to IFITT – International Federation for of sustainability: economic, environmental, social and
IT in Travel and Tourism. Thanks to the activities of our cultural ones. This report represents, in a sense, the very
Digital Technologies for Communication Institute of the nature of a university’s mission: contributing to sustainable
Faculty of Communication, Culture and Society, USI has societal development through research and education.
also more recently launched a Master in Digital Fashion I thank USI’s professor Lorenzo Cantoni, a passionate
Communication, a double degree programme done in researcher and educator in both domains, as well as the
collaboration with Université Paris 1 Panthéon-Sorbonne colleagues at UN Tourism and all the case contributors,
(Paris, France), and a Conference series on Fashion for designing and developing this report, and very much
Communication, named FACTUM. Thanks to those two hope it will contribute to a better understanding of the
educational and research streams, several explorations of presented fields and promote further and wider fruitful
their interactions have started, which have unveiled a very collaborations between Tourism and Fashion.
rich world of similarities and collaborations. In particular,
 8 Fashion and Cultural Tourism

Introduction
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In the last decade, there has been a wider recognition in a flagship report fully devoted to African fashion.4
of fashion as an integral part of cultural, prevalently While tourism and fashion have been seldom studied in
intangible heritage and of creative industries. Creative conjunction, in 2023 the Tourism Social Science Series
Industries, according to the European Commission, published Fashion and Tourism: Parallel Stories,5 exploring
form complex and interlinked value chains, from the their interlinkages. Such interest, and relevant practices
design and manufacturing of goods (e.g., in the fashion that have emerged, made UN Tourism join forces with
sector: textiles, clothing, footwear, leather, fur products, the Università della Svizzera italiana (USI) to produce a
jewelry and accessories) and high-end goods, to their baseline tourism and fashion report. It fits the cultural
distribution and retail.1 Fashion has long ago abandoned a tourism work streamline and builds, upon previous UN
marginalized position within culture and museums, taking Tourism research focus on fashion without exploring its
center stage in exhibitions and collections. The case of specificities.6 This sector is also reflected in a UN Tourism
the Metropolitan Museum of Art in New York provides publication on shopping tourism,7 which has considered
a vivid image of this change in status: the most visited fashion from the trade viewpoint. In fact, buying fashion
exhibition thus far has been “Heavenly Bodies: Fashion items (textile, accessories or other items) is not just a
and the Catholic Imagination” in 2018, surpassing with
2
functional choice as they can be folded and well packed.
its 1,659,647 visitors the prior number one, which had The act of purchase implies a series of meanings; fashion
been “Treasures of Tutankhamun” in 1978.3 As we will related items represent a sense of place, lifestyle and
see further down, such process has developed in parallel often popular culture. The mementos of one’s trip might
with a clear inclusion of fashion among the culture and be linked to traditional designs, or contemporary artisanal
creative industries, as proposed, by UNESCO in 2023, and design practices.

1 European Commission (2024), ‘Cultural and Creative Industries’, European Commission, Brussels, available at:
https://single-market-economy.ec.europa.eu/sectors/cultural-and-creative-industries_en [06-02-2025].
2 More information about “Heavenly Bodies: Fashion and the Catholic Imagination” exhibition available at: The Metropolitan Museum of Art (2018), ‘Heavenly
Bodies – Fashion and the Catholic Imagination’, exhibition, 10 May – 8 October 2018, Metropolitan Museum, New York, available at:
https://www.metmuseum.org/exhibitions/listings/2018/heavenly-bodies [30-12-2024].
3 More information about “Treasures of Tutankhamun” exhibition available at: The Metropolitan Museum of Art (1979), ‘Treasures of Tutankhamun at the
Metropolitan Museum of Art’, exhibition, 20 December 1978 – 15 April 1979, Metropolitan Museum, New York, available at:
https://libmma.contentdm.oclc.org/digital/collection/p16028coll14/id/10116/ [30-12-2024].
4 United Nations Educational, Scientific and Cultural Organization (2023), The African fashion sector: trends, challenges & opportunities for growth, UNESCO,
DOI: https://doi.org/10.58337/PHDP8559.
5 Gravari-Barbas, M. and Sabatini, N. (eds., 2023), Fashion and Tourism: Parallel Stories, Emerald Publishing Limited, Leeds,
DOI: https://doi.org/10.1108/S1571-5043202426.
6 World Tourism Organization (2018), Tourism and Culture Synergies, UN Tourism, Madrid, DOI: https://doi.org/10.18111/9789284418978.
World Tourism Organization (2012), Tourism and Intangible Cultural Heritage, UN Tourism, Madrid, DOI: https://doi.org/10.18111/9789284414796.
7 World Tourism Organization (2014), AM Reports, Volume eight – Global Report on Shopping Tourism, UN Tourism, Madrid,
DOI: https://doi.org/10.18111/9789284416172.
 Fashion and Cultural Tourism 9

Objectives, methodology and The good practices analysed in this report:

structure
▬ Outline fashion in the context of creative economy
The aim of this report is to research the relationship and industries, and tourism in the context of culture
between fashion – as part of the creative economy and creativity.
– and cultural tourism. The research explores these
phenomena in both directions: i) from tourism to fashion: ▬ Explore the relationship domain with its many
highlighting how tourism impacts fashion, and ii) from linkages; and
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fashion to tourism: exploring how fashion items, practices

and events attract travelers to visit specific destinations. ▬ Feature eleven case studies, which embody the
This publication is intended for policymakers and dimensions explored in the conceptual chapters,
professionals engaged in both domains, interested in by showcasing specific products and experiences
leveraging the many opportunities generated by the for cultural tourism based on fashion and creative
interactions between fashion and tourism. This baseline industries.
report aspires to:

▬ Provide a comprehensive overview of the linkages

between fashion and tourism, while underlying their
relevance for creating cultural tourism offerings;

▬ Feature case studies collected from different

regions, which could inspire peers to undertake
similar initiatives; and

▬ Suggest recommendations targeting UN Tourism

member states on creating policies and strategies
enabling a mutually enriching collaboration between
fashion and tourism.

The methodology involved developing a comprehensive

questionnaire, along with in-depth interviews with
selected participants. Collecting direct evidence provided
additional details relevant to present the case studies.
The report consists of various conceptual and theoretical
chapters, a compendium of good practices, and a
set of recommendations targeting governments and
destinations.

Masai woman in traditional dress, Tanzania.

Copyright: © Delbars | Dreamstime.com
 10 Fashion and Cultural Tourism
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01
Creativity and
fashion
Summary:
This chapter explores the concepts of creative economy, creative industries and fashion.
It also takes a deep dive into the semantic and cultural meanings of fashion itself, while
analysing the relation of humankind and human culture with different fashion expressions.
Finally, it raises some specific issues related to intellectual property rights and their impact
on fashion tourism.

Key messages:
▬ Creative economy, creative industries and fashion are closely linked to sustainability
and manifest both opportunities and pressing challenges across all sustainability
pillars.
▬ The current prevailing model of industrial fashion production is unable to account for
all fashion-related practices which fit into a broader cultural and social context.
▬ Intellectual property rights enable individuals and companies to earn recognition or
benefit financially from what they invent or create.

Key words:
creative economy | creative industries | intellectual property | copyright |
communication | dimensions of fashion | sustainability

Guitar workshop, Madrid, Spain. Copyright: © IFEMA MADRID

 Fashion and Cultural Tourism 11

1.1 How do creative economy,

creative industries and fashion fit
together?
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Creative economy8 is closely linked to other ecosystems, the capacity to be creative and innovative, providing
such as the ‘cultural industries’, ‘content industries’ (or evidence that behind a product there is an energy able
‘copyright industries’), as well as the ‘creative industries’. to create one particular item and innumerable new ones.
Whereas UN Tourism does not provide official definitions Cultural creators are linked to traditions and practices
of these concepts given its principal mandate, which is that preceded them, as well as to current market trends
tourism, other international players such as UNESCO, and an enabling environment for creativity and innovation.
OECD and academic experts have made substantial From an economic point of view, creative industries
inputs in this sense. provide a major added value beyond mere reproduction
of existent products, ensuring a competitive advantage,
The creative industries can be defined as “knowledge- based on the principle that creative products can be
based creative activities that link producers, consumers copied while creativity cannot.
and places by utilising technology, talent or skill to
generate meaningful intangible cultural products, creative Creative industries and fashion are closely linked to
content and experiences. They comprise many different sustainability. The challenges and opportunities faced by
sectors, including advertising, animation, architecture, these sectors include mindful consumerism, value chain
design, film, gaming, gastronomy, music, performing management, respect for workers, their communities
arts, software and interactive games, and television and the ecosystem, governance and regulations,
and radio.” While fashion was not explicitly included in
9
multi-stakeholder interdependence, as well as digital
the provided (open-ended) list, probably subsuming it transformation. In particular, an increase in consumption
under design, the cited OECD report mentions fashion and production – usually referred to as “fast” or “ultra-
more than 40 times, emphasizing its importance within fast” fashion10 – challenges the overall sustainability
the creative industries landscape. Creative industries are of the sector, pushing towards over-consumption and
closely related to culture and heritage on one side, and favoring practices that reduce prices at the cost of unfair
with creativity and living practices on the other; when it treatment of workers and inadequate management of
comes to fashion, there is a series of intangible cultural natural resources. While facing such challenges, those
heritage expressions feeding in the fashion ecosystem. industries, as suggested by UNESCO,11 might be also
Creative industries do not only (re)produce similar part of the solution: “the cultural and creative industries
products – as in industrial production – but demonstrate (CCIs), which comprise sectors such as fashion and

8 Organisation for Economic Co-operation and Development (2014), Tourism and the Creative Economy, OECD Studies on Tourism, OECD Publishing, Paris,
DOI: https://doi.org/10.1787/9789264207875-en.
9 Organisation for Economic Co-operation and Development (2014), Tourism and the Creative Economy, OECD Studies on Tourism, OECD Publishing, Paris,
p. 8, DOI: https://doi.org/10.1787/9789264207875-en.
10 Fast fashion can be defined as “a business model that combines three elements: (a) quick response; (b) frequent assortment changes; and (c) fashionable
designs at affordable prices.” Definition from:
Caro, F. and Martínez-de-Albéniz, V. (2015), ‘Fast Fashion: Business Model Overview and Research Opportunities’, in: Agrawal, N. and Smith, S. (eds.), Retail
Supply Chain Management. International Series in Operations Research & Management Science, vol 223, Springer, Boston, MA, pp. 242–243,
DOI: https://doi.org/10.1007/978-1-4899-7562-1_9.
11 United Nations Educational, Scientific and Cultural Organization (2023), The African fashion sector: trends, challenges & opportunities for growth, UNESCO,
Paris, DOI: https://doi.org/10.58337/PHDP8559.
 12 Fashion and Cultural Tourism

design, are important levers for sustainable development There are three main reasons why human beings cover/
and essential tools to achieve the aspirations of the fashion themselves, implying four distinct dimensions
UN Sustainable Development Goals by 2030. They and related practices, that will be explained in further text:
stimulate economic growth, provide decent employment
opportunities, and play a vital role for the well-being 1. Modesty: All human communities cover parts of the
of societies and individuals. Recent research has body – usually the genitals. Depending on different
demonstrated that CCIs account for 3.1% of global gross cultures, modesty can extend. Such coverage might
domestic product (GDP) and 6.2% of all employment”. 12
include not only fabrics, leather or other materials
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(e.g.: tree bark, leaves) but also tattoos;

The term fashion, is part of the answer to the question
of the reason behind why do humans get dressed, 2. Functional reasons: Humans protect themselves
after all. Whereas it is used in its English expression and from external agents: temperature, water, sun and –
adopted by many languages, it comes originally from the as in the case of shoes – asperities of the surface;
French façon, pointing to the way something is done, and
and providing not only a descriptive approach but also a
prescriptive twist, making it clear how things should be 3. Expression and communication: People express
done. Fashion is an integral part of the creative economy.
13
and communicate their own style, belonging to a
Originally, fashion refers to a peculiar way of producing group or community, social role, spending capacity,
and marketing clothes and accessories, characterized feelings or values.
by specific cycles – from two seasonal ones up to many
more in the so-called fast fashion. In this framework, Societies address modesty and functional needs in
popularized in Europe in the 19th century, new cycles different ways, giving birth to a wide range of clothing
differ from the previous ones, making different elements practices and costumes, which vary over time and different
fashionable or out-of-fashion, according to different geographies, social, religious and professional groups, all
vogues. This current prevailing model is, however, unable the way to individual styles. These dimensions feed in
to account for all fashion-related practices. This report the third dimension – expression and communication –
therefore applies a wider approach to fashion – beyond which is the most creative component and belongs to the
the current state of the industry. essence of fashion.

12 United Nations Educational, Scientific and Cultural Organization (2022), Re|Shaping policies for creativity: addressing culture as a global public good,
UNESCO, DOI: https://doi.org/10.58337/OILN3726.
13 Noris, A. and Cantoni, L. (2022), Digital Fashion Communication – An (Inter)cultural Perspective, Brill, Leiden/Boston, pp. 78–80,
DOI: https://doi.org/10.1163/9789004523555.
 Fashion and Cultural Tourism 13

1.2 A comprehensive framework

for fashion
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A comprehensive framework for fashion consists of the wear as well as accessories, for instance, shoes, caps,
four main areas representing fashion expressions that jewelry, just to mention a few. The third area has to do
can be distinguished by their distance from our body. The with fabrics and leather items that surround us but
first area has to do with hair, skin and what is behind it. It are not worn, as it is the case of home-décor or car
refers to hairstyle, tattoos, piercing, cosmetics (such as interiors. The fourth area refers to lifestyles and practices,
perfumes, creams, oils, among others), but also to body including the contexts in which the previous dimensions
shapes, fitness, and cosmetic surgery. The second one are used or enacted: for instance, the influence between
has to do with items that are in direct or indirect contact sports and fashion and its resulting different dress codes.
with the skin or hair, encompassing all under- and out-

Figure 1.1: The four dimensions of fashion

Skin, hair and below

cosmetics, perfumes, hairdressing,
tattoo, fitness, plastic surgery, …

Around me (in contact)

clothes, jewelry, accessories, …

Around me (less close)

Home décor, bed linen, car interior, …

Around me (wide)
Lifestyle, social interactions, …

Source: Noris, A. and Cantoni, L. (2022), Digital Fashion Communication – An (Inter)cultural Perspective, Brill, Leiden/Boston, pp. 78–80,
DOI: https://doi.org/10.1163/9789004523555.
 14 Fashion and Cultural Tourism

1.3 The role

Fashion is closely connected with most creative industries.
Wherever persons are involved and (re)presented, they

of intellectual
appear with their fashion-related dimensions:

property rights
▬ Lifestyles in music and sports are mirrored by
respective fashion trends;

▬ The media, marketing and the film industry find in

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fashion an area of advanced experimentation and

major social changes; Registered design rights can protect tradition-inspired
patterns, support local designers and prevent imitation,
▬ Digital worlds, gaming and the metaverse, 14
as bringing economic benefits to cultural creators. As pointed
long as they are inhabited by human-like avatars, are out in the 2021 joint WIPO/UN Tourism report on Boosting
full of fashion related dimensions and offer to fashion Tourism Development through Intellectual Property, the
brands a major playground for experimentation; “intellectual property (IP) system has emerged as one
of the key factors in the growth of the tourism sector.
▬ Gastronomy and culinary culture, given their It provides a regulatory framework that aims to foster
relation to the sense of smell, as in cosmetics, as well an environment in which creativity and innovation can
as to lifestyle trends and innovation, feature touching flourish, and it enables people and companies to earn
points with fashion. recognition or benefit financially from what they invent
or create. This makes the IP system a perfect partner
As for most practices in the creative industries, also here for continuing to boost tourism development […]”15. That
Intellectual Property Rights play a major role, as we will report mentions fashion both when it comes to modern
see in the following lines. design and patterns, as well as in the context of traditional
knowledge and cultural expressions. Most importantly,
Intellectual property rights prevent misappropriation of
cultural practices or traditional knowledge related to
fashion. Cultural expressions created, cultivated and
transmitted by cultural creators (often indigenous people
or underserved communities) can otherwise provide
financial rewards for unconnected third parties. The cut-
rate sale of industrial products as original undermines
fair and direct remuneration for the hours of work
artisans invest, disrupting the value chains and promoting
industrially produced alternatives.

Tourist tests perfumes, Bukhara, Uzbekistan.

Copyright: © Adamico | Dreamstime.com

14 In connection with tourism, metaverse tourism can be defined as “as tourism that provides a product or experience with collective spatial environments
enhanced by multisensory information processing in the convergence of physical and virtual environments”. Definition from:
Go, H. and Kang, M. (2023), ‘Metaverse tourism for sustainable tourism development: Tourism Agenda 2030’, Tourism Review, 78(2), pp. 381–394, DOI:
https://doi.org/10.1108/TR-02-2022-0102.
This definition is used in the following ITU report:
International Telecommunication Union (2024), The future of travel in the metaverse: landscape and use cases (FGMV-36), ITU, Geneva, available at:
https://www.itu.int/en/ITU-T/focusgroups/mv/Documents/List%20of%20FG-MV%20deliverables/FGMV-36.pdf [30-12-2024].
15 World Intellectual Property Organization and World Tourism Organization (2021), Boosting Tourism Development through Intellectual Property, WIPO,
Geneva, DOI: https://doi.org/10.18111/9789284422395.
 Fashion and Cultural Tourism 15

When discussing all these issues, it is important to pose a as paying “tribute to the richness of Mexican culture.”17
series of questions, such as: Subsequently, Mexico amended its copyright laws to
acknowledge indigenous communities as the owners of
▬ What is the difference between inspiration and IP rights of collective works derived from popular culture
copying? or expressions with traditional elements of indigenous
communities, including the right to oppose alterations
▬ Is it enough for brands to receive consent from local and unauthorized use.18
and indigenous communities and not give them the
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credit and compensation for their work? The institutional commitment and policies set by public
administrations need to reach the ground and train
▬ Is it enough for brands to just give credit and leave communities to learn about the strategic and practical
out consent and compensation? use of intellectual property. The World Intellectual
Property Organization (WIPO) offers workshops on
▬ Is it enough for brands to apologize for the trademark development, intellectual property strategies
unauthorized use of someone’s traditional knowledge and business models for community and indigenous
and traditional cultural expressions? peoples-led enterprises, as well as the management,
market access, e-commerce and financial education.19
National bodies and other entities with a preview to The acquired skills are a win-win for creators, and tourism
protect cultural and intellectual property rights, have and fashion sectors, as experiences and products
started to protect indigenous textile designs and patterns, become more diverse and produce more commercial
so to ensure due credit is given to the communities in exchange.
which these cultural expressions originated. The same
stakeholders ensure that individual cultural creators or
Hat manufacturing, Florence, Italy. Copyright: © Mode Liana
their cooperatives get a fair and equitable share of the
profit made through sales of those fashion items.16

Some luxury brands have experimented complaints

from governments for using unique cultural patterns in
their collections. In 2019, the Mexican Culture Minister
addressed a complaint letter to Carolina Herrera “[…] over
a collection influenced in part by traditional Mexican textile
patterns. The House of Herrera described its Resort 2020
collection as being inspired by a “Latin holiday” – with
creative director Wes Gordon defending the collection

16 See, for instance, the role of the Mexican Government in this, as reported in:
Noris, A. and Cantoni, L. (2022), Digital Fashion Communication – An (Inter)cultural Perspective, Brill, Leiden/Boston, pp. 78–80,
DOI: https://doi.org/10.1163/9789004523555.
17 IPRdaily (2021), ‘Mexico Fights Cultural Appropriation with New Intellectual Property Law’, published 7 December 2021, IPRdaily, Beijing, available at:
http://www.iprdaily.com [25-02-2025].
18 Business & Human Rights Resource Centre (2022), ‘México: Ley Federal de Protección del Patrimonio Cultural de los Pueblos y Comunidades Indígenas y
Afromexicanas combatirá apropriación cultural’, published 17 January 2022, available at: https://www.business-humanrights.org/es/ [25-02-2025].
Hernández, N. (2022), ‘Publican ley contra la apropiación cultural de pueblos indígenas y afromexicanos en DOF’, published 17 January 2022, Milenio,
Mexico City, available at: https://www.milenio.com [25-02-2025].
Gobierno de México – Cámara de Diputados de H. congreso de la Unión (2023), ‘Ley Federal de Protección del Patrimonio Cultural de los Pueblos y
Comunidades Indígenas y Afromexicanas’, last updated on 29 November 2023, Government of Mexico, Mexico City, available at:
https://www.diputados.gob.mx/LeyesBiblio/index.htm [25-02-2025].
19 World Intellectual Property Organization (2022), ‘Traditional Knowledge Update – Women Entrepreneurs from Indigenous Peoples and local communities
in Bolivia, Colombia, Ecuador and Peru learn about the strategic and practical use of intellectual property’, newsletter, published 15 December 2022, WIPO,
Geneva, available at: https://mailchi.mp/wipo.int/traditional-knowledge-update-192022-strengthening-the-capacity-of-community-enterprises-from-
indigenous-peoples-and-local-communities [25-02-2025].
 16 Fashion and Cultural Tourism
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02
Tourism and
fashion
Summary:
This chapter provides a synthesis of the main concepts explored in this report. It starts by
tackling culture, cultural heritage and cultural tourism, showing the role played by fashion
in such domains. Particular attention is paid to intangible cultural heritage, as it is usually
linked with traditional practices and know-how feeding fashion expressions. The chapter
highlights the critical role that fashion and tourism play in promoting sustainability, with a
particular focus on the sociocultural dimension.

Key messages:
▬ Fashion is a very relevant part of every culture and is integrated into many cultural
expressions.
▬ Cultural tourism often makes references to fashion and harnesses fashion expressions
in products development and destination branding.
▬ Fashion can be linked with tourism to support SDGs and the implementation of the
2030 Agenda.

Key words:
cultural tourism | intangible heritage | creative cities | creative tourism | sustainability

Foreign customers at Olive Young Myeongdong Town, Republic of Korea. Copyright: © KTO-IR Studio
 Fashion and Cultural Tourism 17

2.1 How are culture, cultural

heritage and tourism linked to
fashion?
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The core assets of cultural tourism are usually related often originated from or attributed to a specific region or
to built heritage, 20
while the core assets of the creative location.23 While many definitions have been proposed
industries relevant to tourism are knowledge- and skill- thus far, there is a broad consensus on two main
based. There has been an important movement in the characteristics: “(1) that culture is a way of life based
last years, towards incorporating living or intangible on some systems of shared meanings; and (2) that it is
cultural heritage expressions into cultural tourism passed on from generation to generation through this
experiences. While intangible cultural aspects are key very system”.24 Culture derives from the Latin verb colo
in creating a destination’s tourism offer, “the creative – to cultivate, to care for or to look after something. This
industries are more concerned with contemporary verb could be used in three areas of human experience:
creativity, even if they may often use traditional culture
as a source of inspiration”.21 In parallel, “creative tourism” 1. Natural environment: The way a community looks
has been also emerging in the market. It is a way for after its living space – agriculture;
individuals to develop their creative capacities, new skills
and abilities: a form of tourism “which offers visitors the 2. Cultivation of human beings: The way communities
opportunity to develop their creative potential through and individuals cultivate and celebrate their
active participation in learning experiences which are peculiarities and specific features, encompassing
characteristic of the holiday destination where they are education, arts and all those dimensions that are by
undertaken.” 22
Culture, cultural heritage and cultural default referred to as culture; and
tourism feature diverse interlinkages, and they all have
touching points with fashion. The position of different 3. The way a community relates to God, religion or the
fashion expressions within these concepts often varies, sacred: cult.
depending on the context.
When it comes to cultural heritage, many definitions
Culture encompasses the social behaviour, institutions have been suggested, such as the one in the Convention
and norms found in human societies, as well as the on the Value of Cultural Heritage for Society (Faro
knowledge, beliefs, arts, laws, customs, capabilities and Convention, 2005),25 defining in Article 2 cultural heritage
habits of the individuals in these groups. Culture has and a heritage community as follows:26

20 Organisation for Economic Co-operation and Development (2014), Tourism and the Creative Economy, OECD Studies on Tourism, OECD Publishing, Paris,
DOI: https://doi.org/10.1787/9789264207875-en.
21 Organisation for Economic Co-operation and Development (2014), Tourism and the Creative Economy, OECD Studies on Tourism, OECD Publishing, Paris,
p. 52, DOI: https://doi.org/10.1787/9789264207875-en.
22 Richards, G.W. and Raymond, C. (2000), ‘Creative Tourism’, ATLAS News, 23, Tilburg University, Utrecht, pp. 16–20, available at:
https://research.tilburguniversity.edu/en/publications/creative-tourism [30-12-2024].
23 Tylor, E.B. (1871), Primitive Culture – Researches into the development of mythology, philosophy, religion, art, and custom, volume 1, J. Murray, London,
available at: https://openlibrary.org/books/OL6946625M/Primitive_culture [30-12-2024].
24 Danesi, M. and Perron, P. (1999), Analyzing cultures: An introduction and handbook, Indiana University Press, Bloomington, p. 22.
25 Council of Europe (2005), ‘Convention on the Value of Cultural Heritage for Society (Faro Convention 2005)’, Council of Europe, Strasbourg, available at:
https://www.coe.int/en/web/culture-and-heritage/faro-convention and https://rm.coe.int/1680083746 [08-01-2025].
26 Art.2 of the Framework Convention on the Value of Cultural Heritage for Society available at: https://rm.coe.int/1680083746
 18 Fashion and Cultural Tourism

Figure 2.1: The three layers of Latin colo and their mirroring in tourism

colo myself/other human beings: Culture

cultural tourism

colo God: Cult Human colo environment: Agriculture

pilgrimage/religious tourism being agritourism/
rural tourism
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Source: de Ascaniis, S. and Cantoni, L. (eds., 2022), ‘Introduction to the Handbook on Heritage, Sustainable Tourism and Digital Media’, in: Handbook on
Heritage, Sustainable Tourism and Digital Media, Edward Elgar Publishing, Cheltenham,
DOI: https://doi.org/10.4337/9781788970082.00007.

“a) [Cultural heritage can be defined as a] group living cultures with their lifestyles, value systems, beliefs
of resources inherited from the past which and traditions.”27 ICOMOS, in its 2022 Charter for Cultural
people identify, independently of ownership, as Heritage Tourism, states that: “cultural heritage tourism
a reflection and expression of their […] evolving refers to all tourism activities in heritage places and
values, beliefs, knowledge and traditions. It destinations, including the diversity and interdependence
includes all aspects of the environment resulting of their tangible, intangible, cultural, natural, past and
from the interaction between people and places contemporary dimensions.”28
through time;
While the three-layers approach sketched above indicates
“b) [A heritage community can be defined as a group the main drivers to travel and can help avoid a clear-cut
of] people who value specific aspects of cultural separation between natural and cultural tourism, it is also
heritage which they wish, within the framework able to include fashion. Fashion connects with agriculture,
of public action, to sustain and transmit to future given the materials used of plant or animal origin (e.g.,
generations.” linen, cotton, wool, silk and leather, among others); and
it is a culture indicator, as communities express their
If we delve deeper into the semantics of culture-related creativity and their values differently. Moreover, specific
terms, the UN Tourism General Assembly (2017) adopted fashion-related items are characteristic of events,
the definition of cultural tourism as “a type of tourism holidays, celebrations or milestones in peoples’ lives. If
activity in which the visitor’s essential motivation is to we combine the outlined approach to fashion with this
learn, discover, experience and consume the tangible broad understanding of culture, we can state that fashion
and intangible cultural attractions/products in a tourism is a very relevant part of every culture.29
destination. These attractions/products relate to a
set of distinctive material, intellectual, spiritual and
emotional features of a society that encompasses arts
and architecture, historical and cultural heritage, culinary
heritage, literature, music, creative industries and the

27 World Tourism Organization (2019), UNWTO Tourism Definitions, UN Tourism, Madrid, DOI: https://doi.org/10.18111/9789284420858.
28 International Cultural Tourism Committee (2022), ICOMOS International Charter for Cultural Heritage Tourism (2022): Reinforcing cultural heritage protection
and community resilience through responsible and sustainable tourism management. Adopted by the ICOMOS Annual General Assembly (Bangkok,
Thailand) in November 2022, ICTC available at: https://www.icomosictc.org/p/2022-icomos-international-cultural.html [30-12-2024].
29 This interpretation has recently found an iconic expression in the very title of the fashion-related section in:
Google Arts and Culture (n.d.), ‘We Wear Culture – The stories behind what we wear’, Google, available at:
https://artsandculture.google.com/project/we-wear-culture [08-01-2025].
 Fashion and Cultural Tourism 19

2.2 Advancing the role of

intangible cultural heritage
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Within the framework of the 2003 UNESCO Convention Uzbekistan, the Dogon mask and dance performances
for the Safeguarding of the Intangible Cultural Heritage, 30
in Mali, the Kaziuka Traditional Arts and Crafts Fair of
several fashion-related practices have been inscribed in Lithuania, the Intercultural Village Trawupeyüm in Chile
the Representative List of the Intangible Cultural Heritage or the Indonesian ViaVia Java Village Tours, tackle the
of Humanity, featuring performing arts, social practices, intricate relationship between intangible cultural heritage,
rituals, festive events, as well as traditional craftsmanship. creative industries and fashion, within the cultural tourism
ecosystem.
While exploring the rich fabrics of related concepts, one
might find: textile arts, weaving, embroidery, silk, wool, At the European level, a previous UN Tourism/European
cotton, natural dyes, craft workers, costumes, festivals, Travel Commission (ETC) publication on City Tourism
family, and many more. 31
The UNESCO Creative Cities and Culture proposes the following taxonomy, which
Network (UCCN) 32
has further underlined the links distinguishes two concentric circles and refers explicitly
between creative industries and places, focusing on the to fashion:34
sectors of Crafts and Folk Art, Design, Film, Gastronomy,
Literature, Media Arts, and Music. Even if fashion is not “I. The inner circle represents the primary elements
explicitly mentioned, it is inextricably linked with crafts of cultural tourism which can be divided into two
and design and has connections with all other spheres. parts, namely heritage tourism (cultural heritage
In 2012, UN Tourism issued its first report on Tourism related to artefacts of the past) and arts tourism
and Intangible Cultural Heritage, highlighting its role (related to contemporary cultural production such
for tourism, addressing, inter alia, traditional costumes, as the performing and visual arts, contemporary
handicrafts and dress codes. This baseline research called architecture, literature, etc.).
for responsible management of living heritage in tourism
to create jobs, alleviate poverty and safeguard cultural “II. The outer circle represents the secondary
heritage by reinvesting tourism revenue into specific elements of cultural tourism which can be
initiatives.33 This UN Tourism research was published divided into two elements, namely lifestyle
back in 2012 but it already featured some cases on (elements such as beliefs, cuisine, traditions,
dress codes, interactive workshops on fashion-related folklore, etc.) and the creative industries (fashion
expressions, traditional attire styles or textiles. Good design, web and graphic design, film, media and
practices such as the Silk and Spices Festival in Bukhara, entertainment, etc.)”.

30 United Nations Educational, Scientific and Cultural Organization – Intangible Cultural Heritage (2003), ‘Text of the Convention for the Safeguarding of the
Intangible Cultural Heritage’, UNESCO, Paris, available at: https://ich.unesco.org/en/convention [08-01-2025].
31 See also: United Nations Educational, Scientific and Cultural Organization – Intangible Cultural Heritage (n.d.), ‘Dive into intangible cultural heritage!’, UNESCO,
Paris, available at: https://ich.unesco.org/en/dive?display=constellation#tabs [08-01-2027].
32 United Nations Educational, Scientific and Cultural Organization (n.d.), ‘Creative Cities Network’, UNESCO, Paris, available at:
https://www.unesco.org/en/creative-cities [08-01-2025].
33 World Tourism Organization (2012), Tourism and Intangible Cultural Heritage, UN Tourism, Madrid, DOI: https://doi.org/10.18111/9789284414796.
34 World Tourism Organization and European Travel Commission (2005), City Tourism and Culture, UN Tourism, Madrid,
DOI: https://doi.org/10.18111/9789284407798.
 20 Fashion and Cultural Tourism

2.3 How can fashion expressions

improve cultural tourism and its
sustainability?
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UN Tourism surveyed in Tourism and Culture Synergies ▬ Guatemala – through the expansion of emerging
the approach to cultural tourism, receiving input from movements in contemporary culture where design
69 member states. Almost all included tangible and and fashion have gained strength through an
intangible heritage under “cultural tourism”, and over enhanced use of traditional textiles of Guatemala on
80% included contemporary culture (film, performing luxury items, using a neo-artisanal trend; and
arts, design, fashion and new media). In that publication
national tourism administrations (NTAs) ranked ‘tangible ▬ Timor-Leste – through the development of
heritage’ as the most important in cultural tourism, handicrafts at local community level, promoting
followed by ‘intangible heritage’ and ‘contemporary traditional dressing via competitions, establishing
culture’. The report has put to the fore the role of fashion
35
historical museum and providing small grants for
within cultural tourism, underlining that some policies local communities to rebuild their traditional houses.
designed to stimulate creative production have ended
up also supporting tourism development. “In the cases Tourism and fashion can contribute to the
of Amsterdam, Milan and Antwerp, the fashion industry accomplishment of SDGs and the 2030 Agenda, if
has become not just a means of attracting the creative managed in a sustainable and responsible manner.
class, but it has also provided the basis for tourism They both entail major sustainability opportunities and
attractions, such as the Fashion Cluster in Antwerp and challenges and require adequate use of resources,
the Quadrilatero d’Oro in Milan”. 36
decent work conditions and ethical business practices.
Both sectors are important players when it comes to
UN Tourism has reported the inclusion of fashion into ensuring economic sustainability, cultural safeguarding
cultural tourism by countries37, such as: and social benefits.

▬ Azerbaijan – through creation of historical and In this report, social and cultural sustainability38 are
cultural routes, as well thematic cultural festivals and given more focus than the environmental dimensions,
cultural capitals, has put traditional clothing, folklore which are in the spotlight and enjoy more political backing
dances, jewellery, tapestry and carpet making, in amidst the pressing climate change discussions, when
centre stage; talking about tourism and fashion. This report addresses

35 World Tourism Organization (2018), Tourism and Culture Synergies, UN Tourism, Madrid, DOI: https://doi.org/10.18111/9789284418978.
36 World Tourism Organization (2018), Tourism and Culture Synergies, UN Tourism, Madrid, pp. 85–86, DOI: https://doi.org/10.18111/9789284418978, which
cites: Pandolfi, V. (2015), Fashion and the city: the role of the ‘cultural economy’ in the development strategies of three Western European cities, Eburon
Uitgeverij BV. See also:
Budnarowska, C. and Marciniak, R. (2016), ‘Fashion, tourism and the creative industries’, in: Long, P. and Morpeth, N.D. (eds.), Tourism and the Creative
Industries: Theories, Policies and Practices, Routledge, London, pp. 203–220, DOI: https://doi.org/10.4324/9781315735870.
37 World Tourism Organization (2018), Tourism and Culture Synergies, UN Tourism, Madrid, DOI: https://doi.org/10.18111/9789284418978.
38 For more information about cultural sustainability see:
Brown, S. and Vacca, F. (2022), ‘Cultural sustainability in fashion: reflections on craft and sustainable development models’, Sustainability: Science, Practice
and Policy, 18:1, pp. 590–600, DOI: https://doi.org/10.1080/15487733.2022.2100102; and
de Oliveira, R.A., Baracho, R.M.A. and Cantoni, L. (2024), ‘The perception of UNESCO World Heritage Sites’ managers about concepts and elements of
cultural sustainability in tourism’, Journal of Cultural Heritage Management and Sustainable Development, 14(3), pp. 297–311,
DOI: https://doi.org/10.1108/JCHMSD-03-2021-0058.
 Fashion and Cultural Tourism 21

in particular the situation of local communities, especially ▬ Enriching personal experiences rather than
those pertaining to indigenous peoples or communities multiplying them;
in remote rural settings, cultural and fashion creators, as
well as workers on the intersection between fashion and ▬ Understanding a sense of place and the value
tourism. of fashion items, rather than consuming them and
seeking next stimulus, while getting rid of disposable
All key players should be treated in a fair way, receive items;
adequate remuneration for their work and equal share
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of benefits from their involvement in fashion and tourism, ▬ Combining traditional craftsmanship with
thus avoiding any possible exploitation and precarious innovation, forging new paths towards more
work conditions. sustainable practices that merge the fashion and
tourism sectors; and
With regards to cultural sustainability, this baseline
research stresses the value of different cultural ▬ Promoting cultural safeguarding, community
expressions and practices and suggests guidelines that well-being and ecological balance benefitting both
make sure they are respected and properly valued and present and future generations.
understood. It also advises on components regarding
the value chain, cultural creators and communities, as While the sociocultural shift has been shaping up in
well as the responsible behaviour of tourists engaging in the last years, “fast fashion” is inevitably related to
interactive experiences with cultural creators producing environmental sustainability but also to the economic
fashion-related items and offering unique experiences in factors and the purchasing power of its principal
that sphere. customer target groups. According to some surveys in
the United Kingdom,40 “young people top that list; […]
The tourism and fashion sectors are well placed to more than two-fifths of 16 to 24-year-olds buy clothes
promote regenerative practices, while supporting online at least once a week, compared to 13% on average
sustainable development. It is true, though, that these for other age groups.”41 This leaves room for more tailor-
industries have been affected by “fast” production made campaigns and awareness-raising messaging,
and delivery for decades, boosting consumption and resonating better with younger consumers.
accelerating productive cycles. “Fast fashion” and “fast
tourism”39 have started to demonstrate several limits in When talking about “slow tourism”, it practically builds
their growth and an ongoing process of raising awareness upon the “slow food” movement42 in its conceptual
of the importance of shifting towards slower approaches, shaping. It does not only imply travelling at a slower pace
focussed on: and exploring closer locations of interest to one’s place
of residence, but embracing the entire journey as an
experience, which creates deeper connections with local
culture, people and nature.43

39 A slow approach to tourism, as opposed to a fast one, has been developed in the same context as the “slow food” movement; slow travel might be defined
as “an emerging conceptual framework which offers an alternative to air and car travel, where people travel to destinations more slowly overland, stay
longer and travel less. The idea also encompasses more experiential elements such as: the importance of the travel experience to, and within, a destination,
engagement with the mode(s) of transport, associations with slow food and beverages, exploration of localities in relation to patrimony and culture at a
slower pace and, what might best be described as, support for the environment.” Definition from:
Dickinson, J. and Lumsdon, L. (2010), Slow travel and tourism, 1st edition, Routledge, London, pp. 1–2, DOI: https://doi.org/10.4324/9781849776493.
40 Stallard, E. (2022), ‘Fast fashion: How clothes are linked to climate change’, published 29 July 2022, BBC News, London, available at:
https://www.bbc.com/news/science-environment-60382624, 29/07/2022 [25-02-2025].
41 Circular (2022), ‘Gen Z driving increase in fast fashion returns’, published 24 May 2022, Circular, Northampton, available at: https://www.circularonline.co.uk
[25-02-2025].
42 For more information on slow food, consult: Slow Food (n.d.), ‘Good, Clean and Fair Food for All’, available at: https://www.slowfood.com [25-02-2025].
43 Campisi, J. and Ulary, G. (2023), ‘Travelling, Fast and Slow’, in: Zovko, M.-É. and Dillon, J. (eds.), Tourism and Culture in Philosophical Perspective, Springer,
Cham, pp. 189–200, DOI: https://doi.org/10.1007/978-3-031-36659-8_14.
 22 Fashion and Cultural Tourism
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03
From tourism to
fashion
Summary:
The act of travelling has created garments and accessories, as people change their
clothes and habits when leaving their place of origin in order to adapt to the destinations or
attractions they visit. This chapter explores how and why travel practices impact on fashion,
as well as the role of fashion-related souvenirs and arts and crafts, “destinationwear” and
specific brand extensions.

Key messages:
▬ Tourism and travelling serve as a source of inspiration for fashion-design.
▬ Tourists tend to adapt to fashion rules or conduct codes when reaching a destination.
▬ The act of purchasing fashion-related items, souvenirs arts and crafts represents
a significant intersection between tourism and fashion, fostering very dynamic
interlinkages.

Key words:
art and crafts | fashion designers | code of conducts | destinationwear |
brand extension

Arabic Jewelry at Dubai’s Gold Souk in Deira, United Arab Emirates.

Copyright: © Anilozer112 | Dreamstime.com
 Fashion and Cultural Tourism 23

3.1 How is tourism inspiring or

requiring dress codes?
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Travellers adapt their fashion related items and practices Some cultural practices require to uncover parts of the
depending on their destination, due to three reasons: i) body or remove items (e.g., shoes in mosques or caps
climate or meteorological conditions; ii) activities within in churches) or, on the contrary, cover parts of the body
the destination; or iii) distinctive dress-codes or other (e.g., the head with a kippa or a vale in a synagogue
regulations required by the host country or attraction. or legs, chest and shoulders in churches or Hindu or
Buddhist temples). The official web of Abu Dhabi (United
As per the climate conditions, some destinations are Arab Emirates), for example, has a section “What should
providing instructions for travelers. Visit Finland, for I wear in Abu Dhabi” advising on local climate, culture
example, has a dedicated web section titled “What to and religion-related dress-codes. The official portal
wear in Finland during winter?”. Regarding the leisure or
44
recommends “[…] dressing more conservatively during
social activities, we can analyse different sports – winter Ramadan. In the evenings, restaurants and clubs usually
sports, or swimming, 45
horse riding, biking, hiking and have a mix of western, Arabic and Asian styles. Again,
trekking, for instance – or other practices like sun-bathing ladies are advised to take a pashmina or jacket because
or going to a spa. All those require dedicated cosmetics, of cold air conditioning”.46
hairstyle, equipment, and accessories, at times entailing
very specific occasions or lifestyles, as in the case of The “un-dressing code” in terms of footwear may
après-ski, sport matches or preparation routines for apply to certain cultures. The Japanese National
competitions. Different dress-codes may be implicit to Tourism Organization website47 contains a section
ensure comfort and adaptation to a particular context, or on understanding Japanese manners and etiquette,
explicit, when visiting religious buildings or areas requiring indicating the protocol of taking off one’s shoes at the
specific attire for religious or cultural reasons, for example. entrance of home and putting on the slippers offered by
On the other side, the un-dress code of a naturism camp the hosts. It goes further into removing the slippers when
or designated beaches is another reality. While dress- using the tatami mats or the bathroom, where special
codes and un-dress code depend on the climate and slippers may be ready to use.
cultural context, they can perfectly coexist in the same
destination given the human diversity. In a different context, one might think of different dress
codes for swimming or sunbathing which change as
soon as the end-users leave designated areas. A recent
campaign by the French municipality of Bandol at the
Mediterranean was called En ville, on s’habille ! (While in

44 Visit Finland (n.d.), ‘What to wear in Finland during winter?’, Visit Finland, available at:
https://www.visitfinland.com/en/articles/what-to-wear-in-finland-during-winter/ [08-01-2025].
45 Visentin, C. (2023), ‘Inventing the Summer: Evolution of Swimsuit in the 20th Century’, in: Gravari-Barbas, M. and Sabatini, N. (ed.), Fashion and Tourism
(Tourism Social Science Series, Vol. 26), Emerald Publishing, Leeds, pp. 21–32, DOI: https://doi.org/10.1108/S1571-504320230000026002.
46 Experience Abu Dhabi (n.d.), ‘Essential information about Abu Dhabi’, Abu Dhabi Concierge, Abu Dhabi, available at:
https://visitabudhabi.ae/en/plan-your-trip/essential-info [25-02-2025].
47 Consult the website of the Japanese National Tourism Organization at:
https://www.japan.travel/en/guide/understanding-and-mastering-japanese-manners-and-etiquette/
 24 Fashion and Cultural Tourism

3.2 What is the

town you should get dressed);48 another similar example
is a rule in Barcelona that prohibits to walk in the city

role of accessories,
center with naked upper parts of the body. 49
The same
applies for the Balearic Islands that attract a major

“destinationwear”,
influx of tourist flows in a rather long swimming and
sunbathing season, given their geographical position.50

fashion items and

Here tourists can be fined up to EUR 300 for wearing
swimwear or walking shirtless in public areas outside the
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brand extensions?
beaches or pools. While reserved naturist beaches with
an un-dress code are common across Spain and many
European destinations, a fine for public nudity outside of
designated beaches can reach EUR 750.51 All these civic
rules and sanctions are regulated by municipal authorities
to ensure adequate use of public spaces by tourists and The broader fashion ecosystem also produces dedicated
local citizens outside the bathing areas. accessories, “destinationwear” and fashion-related
items used by tourists. Travelling and tourism have
always required accessories, such as luggage. Some
major luxury brands have originally started as luggage
manufacturers, so travellers would be able to move parts
of their wardrobe. Nowadays, one’s wardrobe, jewelry,
footwear or perfumes, might be enriched once at the
destination by buying local items.

National flagship airlines might provide a first “dressed”

welcome through the crew uniforms, becoming iconic
representations of both the carrier and the country. Those
uniforms could refer to specific patterns, embroideries,
lifestyles or designers. For instance, Air Serbia has
included traditional motives of embroidery within their
uniforms. According to its CEO, the company cultivates
in this way a unique blend of traditional and modern
features in its operations, transforming flight attendants
into true ambassadors of their country.52 Another notable
Sales of summer clothes, Sorrento, Italy. example of fashion shaping the identity of an airline is the
Copyright: © Solarisys13 | Dreamstime.com

48 Maire de Bandol (2024), ‘Rappel de civisme : En ville, on s’habille !’, published on 23 July 2024, Maire de Bandol, available at:
https://www.bandol.fr/actualite/rappel-de-civisme-en-ville-on-shabille/ [08-01-2025].
49 According to Article 74 bis of the Ordinance on Measures to Promote and Guarantee Citizen Coexistence in Public Spaces of Barcelona, it is “forbidden to
walk or be in public spaces wearing only a swimsuit”: See:
Ayuntament de Barcelona (n.d.), ‘Norma. Portal Jurídico de Barcelona. Ordenanza de medidas para fomentar y garantizar la convivencia ciudadana en el
espacio público de Barcelona’, published 24 January 2006, Ayuntament de Barcelona, available at:
https://ajuntament.barcelona.cat/norma-portal-juridic/es/vid/840952049 [08-01-2025].
50 Gobierno de España – Ministerio de la Presidencia, Justicia y Relaciones con las Cortes (2020), ‘Decreto Ley 1/2020, de 17 de enero, por el turismo
responsable y la mejora de la calidad en zonas turísticas’, Boletín Oficial de las Islas Baleares (BOIB), number 10, published 23 January 2020 and Boletín
Oficial del Estado (BOE), number 43, published 19 February 2020, with its subsequent modifications, Ministerio de la Presidencia, Justicia y Relaciones con
las Cortes, ELI: https://www.boe.es/eli/es-ib/dl/2020/01/17/1/con [10-03-2025].
51 Lewis, J. (2024), ‘New Balearic Islands Tourist Laws Explained’, blog, Travel Supermarket, available at:
https://www.travelsupermarket.com/en-gb/blog/travel-news/new-balearic-islands-tourist-laws-explained/ [25-02-2025].
52 Air Serbia (2023), ‘New Air Serbia uniforms’, press release, published 27 October 2023, available at:
https://www.airserbia.com/page~1398992 [04-02-2025].
 Fashion and Cultural Tourism 25

TAP Air Portugal uniforms. These designs not only reflect others. In a sense, while supporting the movement from
the airline’s history but also illustrate distinctive elements one place to another, these luxury brands also inspire the
of Portuguese culture, highlighting the nation’s heritage traveller when it comes to lifestyle and fashion practices
and style evolution over the decades. 53
related to sport cars.

With the travel booking and holiday time segmentation A similar case can be found among airlines, which also
revolution since 2000s, the swimwear, which falls into offer fashion items and accessories for public purchase,
the “destinationwear” deserves a special mention. As such as suitcases, sweaters, toiletry purses, and pens.
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“consumers travel more […] often, the swimwear category The accessories promoted by airlines have more of a
is expanding beyond bathing suits and espadrilles […] marketing role than functional purposes. However, this
giving birth to a new genre of holiday destinationwear does not exclude airlines deciding to embark on producing
that works as well in the city as on the sand and includes more functional products, such as garments, in the future.
items like crochet shorts, palazzo pants, cotton kaftans, So far, their crew uniforms have achieved a clear branding
embroidered cover-ups, beach hats, canvas bags, impact and style positioning, as previously described, but
bohemian sandals and fringed tunics.” 54
have not been extended to the general public.

The connection between tourism and fashion could also

be found in the practice of buying fashion-related items,
souvenirs and arts and crafts, as follows:

▬ Items can be affordable and, if of textile nature,

squeezed in a bag. By bringing them back, a traveler
brings home a piece of a destination’s culture;

▬ One is able, to “wrap” herself or himself in such

destination; and

▬ Fashion-related souvenirs – either cosmetics,

clothing, home décor or lifestyle – can re-create
the destination or its culture back-home, in a
hybrid space between memory (souvenir, meaning
“remember” in French) and physicality.

Furthermore, another point of contact between tourism

and fashion relates to brand extensions or licensing.
Several travel-related companies, in particular in the high-
end market of the automotive sector,55 have stepped in
the fashion sector, offering branded items, especially on
their e-commerce platforms that refer to a “travelling”
style. These consist of jackets, sweaters, T-shirts, Sri Lanka Airlines flight attendants' uniform.
Copyright: © Galinasavina | Dreamstime.com
sunglasses, purses, bags, watches or footwear, among

53 TAP Air Portugal (n.d.), ‘A journey through the history of TAP uniforms’, TAP, Lisbon, available at:
https://www.flytap.com/en-us/destinations/suggestions/a-journey-through-the-history-of-tap-uniforms [25-02-2025].
54 Macalister-Smith, T. (2015), ‘Destinationwear Takes Flight’, published 17 July 2025, Business of Fashion, available at:
https://www.businessoffashion.com/articles/luxury/destinationwear-takes-flight/ [04-02-2025].
55 These include, for instance, Porsche, Ferrari or Lamborghini.
 26 Fashion and Cultural Tourism
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04
From fashion to
tourism
Summary:
This chapter explores the impact of fashion on tourism. In particular, the case of fashion
capitals and districts are presented, as well as the links between the two sectors created
by the “made in” construct. The role of fashion within museums, collections and exhibitions
is outlined, followed by the fashion brands extending to tourism and hospitality. The role
of fashion influencers showcasing and promoting specific places is also brought up.
Furthermore, the creative/experiential tourism offers by fashion companies/ateliers is
covered as an emerging and trendy practice.

Key messages:
▬ Fashion might be the main motivation to visit a destination or an attraction. While the
act of purchase of fashion-related items and goods is key, “enjoying” fashion through
tourism goes far beyond a standard shopping tourism experience.
▬ Fashion can be one of the main pull factors to visit a destination, as part of cultural
tourism, indigenous, urban or rural tourism, or even a wellness-driven or business
travel experience.
▬ Fashion and tourism stakeholders need to undertake a series of coordinated actions
to make their destinations “fashionable”.
▬ Untapping the potential of media and digital technologies for promoting fashion
tourism destinations and creators is key in accessing the market.

Key words:
fashion capitals | “made in” | fashion museums | influencers | media |
digital technologies

Models of fashion designer Iris van Herpen at the Paris Museum of Decorative Arts, Paris, France.
Copyright: © Andrei Antipov | Dreamstime.com
 Fashion and Cultural Tourism 27

4.1 How can fashion inspire

tourism experiences within
destinations?
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Destinations can cultivate vibrant and culturally diverse Fashion might be the main motivation to visit a
environments, capable of attracting visitors, by combining destination or an attraction. “Fashion capitals” have
fashion expressions with tourism experiences. In this positioned themselves as places with a major fashion
manner, destinations can foster deeper connections heritage and creative production, demonstrated
between tourists and local communities in which cultural through mediatized fashion weeks, attractions like
expressions and fashion are being created, crafted and fashion districts/streets, brand flagship stores, fashion
commercialized. schools and museums/archives. All these concepts
have shaped up and positioned “fashion destinations”
Fashion has the power to embody local practices, artistry, on the tourism market. Moreover, “fashion capitals”
and traditional techniques; when translated into tourism might provide experiential tours that can be fitted into
experiences, it can enhance the visitors’ understanding of the so called “experiential tourism”56 concept, as these
a place. The growing trend of fashion cities, along with cities showcase production practices through artisanal
fashion shows, events, and festivals, serves as a catalyst workshops or company visits. This implies that “[…] the
for tourism, promoting a destination’s fashion scene and destination is not as important as the experience which
a unique tourist experience. Fashion thus appears to be a can be had there”57.
privileged tool for understanding a culture – a sentiment
very well reflected in fashion museums, collections Besides the four main world fashion capitals – London,
and exhibitions – or for expressing societal values and Milan, New York and Paris – other cities are becoming
historic traditions. Furthermore, social media, content fashion hubs, leveraging fashion to attract both business
creators, and fashion influencers play a fundamental as well as leisure and cultural tourists. A real-time
role in promoting this type of tourism by spotlighting indicator-based measurement of those cities has been
specific destinations and initiatives. Sustainability- offered as a courtesy for this report by the International
focussed fashion initiatives, which incorporate traditional Fashion Dynamic Automated Quantification system
techniques, are also becoming essential in attracting (IFDAQ), providing a Global Cities Index. While it does
eco-conscious travellers eager to explore the realms of not focus on tourism, “it monitors fashion capitals and
craftsmanship and artisanship, as well as the way their emerging cities based on their global market power, work
creators relate to traditional environmental sustainability volume, marketing activity, reputation and influence in
practices and a rational use of resources. the industry. These key elements define the importance
of a city in fashion & luxury.”58 In August 2024, the top
20 ranked cities were: New York, Paris, London, Milan,

56 There is no official definition adopted by UN Tourism for experiential tourism thus far. It can be defined as: “immersive experiences – the kind that aims to
forge a deeper connection with a destination than can usually be had from traditional leisure holidays. These often involve an element of adventure, whether
physical, cultural or spiritual”. Definition from:
Newson, S. (2023), ‘Is experiential travel the next big trend?’, published 19 December 2023, National geographic, available at:
https://www.nationalgeographic.com [11-03-2025].
57 John Gattorna and Deborah Ellis (2019), Transforming Supply Chains: Realign your business to better serve customers in a disruptive world (Financial Times
Series)
58 Global Fashion & Luxury Cities Index IPX (n.d.), ‘About the IFDAQ Cities Index’, available at: https://research.ifdaq.com/cities/about/ [04-02-2025].
 28 Fashion and Cultural Tourism

Figure 4.1: Destination fashion conditioning framework

Conditioning

Actions Communication

Primary communication
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▬ Evolving product
▬ Iconic attractions
▬ Unique attractions
Developing ▬ Variety of attractions
▬ Notable events
▬ Variety of events
▬ Visible culture
▬ Relevant infrastructure
Ongoing

Planning

Secondary communication
Promoting
▬ Promotion through multiple media

Tertiary communication
▬ Favourable endorsements
▬ Endorsements reaching a large
Soliciting
audience
▬ Placements reaching a large
audience

Fashionable to
Destination
reference group(s)

Source: UN Tourism readaptation from: Lewis, C., Kerr, G. and Burgess, L. (2019), ‘Positioning a destination as fashionable: The destination fashion conditioning
framework’, Tourism Management, 72, p. 216, DOI: https://doi.org/10.1016/j.tourman.2018.12.004.

Los Angeles, Sydney, Madrid, Tokyo, Sao Paulo, Seoul, for a city to become a fashion destination, the location
Barcelona, Moscow, Amsterdam, Stockholm, Berlin, needs to leverage strategically on its fashion-related
Copenhagen, Melbourne, Florence, Munich, Hamburg assets, ensuring they are orchestrated within the tourism
and Mexico City. While top cities belong to Europe, the offerings, visibly featured and clearly communicated.
Americas and Asia and the Pacific, Africa is represented
by Cape Town (#37) and Johannesburg (#96), the Middle
East is featured by Dubai (#43) and Beirut (#82).59 In order

59 Global Fashion & Luxury Cities Index IPX (n.d.), ‘Request Report (Q2 2024)’, available at: https://research.ifdaq.com/cities/report/ [04-02-2025].
 Fashion and Cultural Tourism 29

While fashion and tourism bloggers and magazines may 2. Secondary communication refers to explicit
have their own ranking of 10 of 15 top fashion capitals in communication and promotion, conveying the
the world to visit, this kind of ranking lists easily replicated primary communication aspects. It requires that
by the power of click baits and social media, usually fails all channels are used to distribute such meanings,
to use precise data and indicators for such conclusions. consistently featuring the destination as fashionable.
These sources of information are frequently based on
personal perceptions of professionals, remunerated 3. Tertiary communication refers to communication
marketing engagements and campaigns, or partial data. activities enacted by third parties, ranging from
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As indicated in figure 4.1, the process of becoming a spontaneous word of mouth to mentions by content
fashionable destination entails that twelve conditions are creators, up to media coverage and placement in
met, divided into three areas of communication, namely: 60
popular culture (e.g., in movies).

1. Primary communication “is the communicative Fashion and tourism stakeholders need to undertake
effect performed by the place’s product although activities geared towards promotion and soliciting the
communication is not its main aim”. It encompasses
61
conditions belonging to the three communication layers,
eight fashion-related conditions, which can be to make their destination “fashionable”. Finally, figure 4.1
summarized in: stresses the fact that a destination might be perceived as
fashionable by large audiences or by target groups. For
▬ Offering a constantly evolving product, iconic, instance, events like Coachella in California64 or specific
highly recognizable as well as peculiar attractions shops/streets/districts, as in the case of Gangam-gu
and a range of them; district65 in the center of Seoul, are highly relevant for
attracting specific (sub)cultures. Specific events and
▬ Hosting major international events (e.g., fashion festivals might attract given audiences, which are invited
weeks, contests or conferences) and offering a to dress in a relevant/adequate way, hence promoting
portfolio of smaller ones; local attires and – ideally – production.

▬ Making culture and its many links with fashion The complex dynamics of fashion and its links with
clearly visible, manifested through “art, music, specific geographical contexts, such as the urban
cultural events, lifestyle, locals, 62
religion, and and the rural, have witnessed many shifts in the 21st
beliefs”63; and century.66 According to Gilbert and Casadei67, different
situations might be analysed within a triangular diagram,
▬ Facilitating an adequate infrastructure to support whose poles are the manufacturing, design and symbolic
events and activities. fashion city; hence a given city might be closer to one

60 Lewis, C., Kerr, G., and Burgess, L. (2019), ‘Positioning a destination as fashionable: The destination fashion conditioning framework’, Tourism Management,
72, pp. 209–219, DOI: https://doi.org/10.1016/j.tourman.2018.12.004.
61 Lewis, C., Kerr, G., and Burgess, L. (2019), ‘Positioning a destination as fashionable: The destination fashion conditioning framework’, Tourism Management,
72, p. 212, DOI: https://doi.org/10.1016/j.tourman.2018.12.004.
62 Note from the editor: Here locals refers to bars/restaurants, clubs and other similar establishments.
63 Lewis, C., Kerr, G., and Burgess, L. (2019), ‘Positioning a destination as fashionable: The destination fashion conditioning framework’, Tourism Management,
72, p. 213, DOI: https://doi.org/10.1016/j.tourman.2018.12.004.
64 Coachella Valley Music and Art festival is a music event, held every year in California, United States of America. For more information, consult:
https://www.coachella.com/ [04-02-2025].
65 Gangnam is a modern district in the centre of Seoul, Republic of Korea.
66 Godart, F. (2014), ‘The power structure of the fashion industry: Fashion capitals, globalization and creativity’, International Journal of Fashion Studies, 1(1),
pp. 39–55, DOI: https://doi.org/10.1386/infs.1.1.39_1.
Zhang, X.; Zhang, Y.; Chen, T. and Qi, W. (2024), ‘Decentralizing the power of fashion? Exploring the geographies and inter-place connections of fashion
cities through fashion weeks’, Urban Geography, 45(1), pp. 73–92, DOI: https://doi.org/10.1080/02723638.2022.2147742.
67 Gilbert, D. and Casadei, P. (2020), ‘The Hunting of the Fashion City: Rethinking the Relationship Between Fashion and the Urban in the Twenty-First Century’,
Fashion Theory, 24(3), pp. 393–408, DOI: https://doi.org/10.1080/1362704X.2020.1732023.
 30 Fashion and Cultural Tourism

of the angles, and move in time from one position to Fashion brands and labels stating “fabriqué à Paris”,
a different one: cities are “never mere containers for “made in Italy”69, “Hecho en México”70 or “made in Africa”,
fashion, and we can argue that it might be better to shift leverage on the characteristics implicitly attributed to
toward thinking about, for example, fashion in the history these cities, countries and regions, ranging from materials
of cities, rather than the fashion histories in cities. Rather to production quality, from tradition to innovation, from
than hunt for the fashion city, perhaps one aim of our work old time designers to emerging ones. The “made in”
should be to think about the significance of fashion as construct is communicated not only by ad-hoc labels, but
just one thread in a complex weave of cultural, social and also through other references, be they the national flag,
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economic changes within a city.” (p. 401). This approach iconic places or monuments, well-known ambassadors
further underlines the close links that might be found or testimonials. In particular, destination images are used
between fashion and culture and creative industries, to create such a link on marketing and social media
offering endless opportunities for cultural tourism. images, or through fashion events in specific locations.71
For instance, the photo-shoot of an advertising campaign
Such processes involved in making a destination for the Zaaf fashion brand took place in Afar in Ethiopia,
“fashionable”, are not only relevant for major urban areas, acting as a relevant tourism promotion initiative (e.g.,
but also for peripheral areas, such as the coastal town of within the inflight entertainment of airlines).72 The
Aoshima in Japan, situated in a rural setting. In Aoshima, presence of branded clothes or of specific fashion styles
one can see the “co-constitutive dynamic between in movies or TV series or similar, which have experienced
‘star migrants’, industry ‘gatekeepers’, and ‘consumers major growth through new platforms, constitutes another
as producers’ in the production and consumption of link between fashion and tourism, making the former a
‘fashionable’ rural destinations.” 68
In this process, rural pull factor to visit a destination, celebrating cities, such as
destinations are (re)fashioned by urban-to-rural lifestyle Paris, through its fashion.
migrants who introduce new traditions, aesthetics and
meanings to the place. A staggering 10% of tourists reportedly chose France
as their destination after watching a movie or show, and
Regarding the made-in labels which imply notoriety and over 35% of those showed “Emily in Paris” as being a
reputation for many brands and nations in which products significant contributor.73 In addition, France reported an
have been designed, fashion companies are leveraging uptick in the number of tourists visiting sites depicted in
their historical and geographical roots to convey their “Emily in Paris” with companies and websites highlighting
values to customers. Besides the legal requirements for a popular destinations in Paris as shown in the Netflix
made-in label, reference to a specific origin is used to link series. Therefore, it seems that the tourism boost France
a fashion product with a nation or its regions. is experiencing might also be connected to the popularity

68 Yamagishi, D. and Doering, A. (2025), Dressing up the place: Urban lifestyle mobilities and the production of “fashionable” tourism destinations in rural Japan’,
Tourism Management, 106, 104995, DOI: https://doi.org/10.1016/j.tourman.2024.104995.
69 Piancazzo, F.; Noris, A.; Sabatini, N. and Cantoni, L. (2024), ‘Italy, an Extraordinary Commonplace? Stereotypes and Imaginaries of Italianness in Online
Communication by Fashion Brands*’, Fashion Theory, 28(5–6), pp. 755–787, DOI: https://doi.org/10.1080/1362704X.2024.2379996.
70 Gobierno de México – Secretaría de Economía (n.d.)., ‘Hecho en México’, Gobierno de México, available at: https://www.gob.mx/hechoenmexico
[20-03-2025].
71 However, different types of references might lead to confusion or might be used to convey misleading or difficult to interpret messages, suggesting a
country of origin (COO) that is not the actual one. This might happen especially with unregulated markers as, for instance, when the name of a country or
words in a given language are in a brand’s name. See:
Aichner, T. (2014), ‘Country-of-origin marketing: A list of typical strategies with examples’, Journal of Brand Management, 21, pp. 81–93,
DOI: https://doi.org/10.1057/bm.2013.24.
72 More information available at: Joey L. Photographer (2019), ‘ZAAF: Made in Africa – Full Behind the Scenes Documentary’, published 29 July 2021, YouTube,
available at: https://youtu.be/_ODQFuyn_SU [05-02-2025].
73 The Economic Times (2024), ‘Emily in Paris Season 5: French President Macron and Rome’s mayor fighting to win over Emily’, published 11 October 2024,
ET, Noida, available at: https://economictimes.indiatimes.com [26-02-2025].
 Fashion and Cultural Tourism 31

of “Emily in Paris” and the romanticism of Parisian scenery

and culture. The emergence of fashion films74 which has
become notorious in the pandemic, has further merged
fashion and lifestyles to increase a place’s attractivity for
wider audiences. Similarly, the linkages between fashion
and music have been exploited to attract visitors to iconic
musical events and concerts, from a fashion viewpoint.
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Natural dyed wool at a traditional textile weaving centre near Cusco, Peru. Copyright: © Marktucan| Dreamstime.com

74 Noris, A. and Cantoni, L. (2024), ‘“The Good Italian”: Fashion Films as Lifestyle Manifestos. A Study Based on Thematic Analysis and Digital Analytics’, Fashion
Theory, 28(2), pp. 151–173, DOI: https://doi.org/10.1080/1362704X.2024.2323363.
 32 Fashion and Cultural Tourism

4.2 How can tourists experience

fashion collections and brand
extensions?
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In the last decade, many fashion museums, collections 3. Approaching a culture from the viewpoint of fashion
and exhibitions have emerged globally. They are managed provides effortless access, able to speak to people
either by public bodies or by specific brands. 75
On the with different interests or cultural backgrounds.
other hand, indigenous communities and cultural creators
in rural settings offer community-led experiences to Fashion appears to be a privileged gateway
showcase their creations. Such opportunities to interpret to understanding a culture, provided that the
fashion as a major cultural phenomenon are attracting interpretations offered are scientifically sound and
both local residents and travellers. culturally sensitive. Furthermore, in case of museums,
items which represent humans can be interpreted
Fashion museums and exhibitions provide an intriguing as fashion documents, showing how people used to
door to explore the culture of a place. Interest in fashion dress in specific areas and periods, or how and why
extends cultural understanding in three important they performed certain activities or celebrated holidays
directions: and ritual events76. Other museum items could also
be interpreted as origins of patterns used in textile or
1. It encompasses all social classes and communities, jewelry production. Several fashion brands have recently
as all of them have their fashion items and practices. extended their business outreach to enter the hospitality
An interest in fashion ensures an inclusive approach and tourism sector. They have opened branded bars
to culture, which does not forget any demographic; and restaurants, hotels and clubs, promising to provide
tourists with an experience similar to what their clients
2. Fashion heritage helps to approach cultures find at their flagship stores. In many cases, they feature
that are not characterized by built heritage: here, pieces of furniture designed by the brand’s designers,
fashion museums – covering all the space between further linking clothing, home décor and lifestyle. Such
cosmetics and lifestyles – provide a captivating and brand extensions provide one more testimony to the
comprehensive view on the richness of cultures that close connections between tourism, hospitality and
cannot be approached through the lenses of built fashion, demonstrating how fashion operates as a driving
heritage; force to attract people to specific destinations.

75 Noris, A. and Cantoni, L. (2022), Digital Fashion Communication – An (Inter)cultural Perspective, Brill, Leiden/Boston, pp. 78–80,
DOI: https://doi.org/10.1163/9789004523555.
Stachel, C. and Cantoni, L. (2023), ‘When Shoe Heritage is on Display’, in: Sabatini, N.; Sádaba, T.; Tosi, A.; Neri, V. and Cantoni, L. (eds.), Fashion
Communication in the Digital Age. (FACTUM 2023). Springer Proceedings in Business and Economics, Springer, Cham.,
DOI: https://doi.org/10.1007/978-3-031-38541-4_27.
Lan, L. and Liu, P. (2023), ‘Exhibiting fashion on the heritage site: the interrelation between body, heritage space, and fashionable clothing’, Humanities and
Social Sciences Communications, 10, 827 (202), DOI: https://doi.org/10.1057/s41599-023-02373-8.
76 For example, a painting representing a wedding can be explained by describing the characters’ attire, but also connecting it to the music, dances, rituals,
food and lifestyle of the occasion.
 Fashion and Cultural Tourism 33

Fashion (as well as tourism) does not consist mainly in Contact with the culture and the acquisition of knowledge
big companies which might afford their own museums, of indigenous peoples and rural communities generally
but also in micro-, small and medium-sized enterprises takes place within communities with “grassroots”
and craft ateliers, or informal community undertakings, initiatives, artisanal workshops and cooperatives, or at
typical within indigenous communities or in rural settings. local markets, rather than in an institutional or staged
Offering informative or interactive visits and engaging setting. The latter is often arranged for entertainment
experiences to witness the creation of fashion-related or commercial exchange purposes. It is the first-hand
expressions on the spot, connects the consumers engagement what makes such visits and cultural
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with the creatives. Several companies or artisanal exchanges so rewarding, making it easier both for tourism
workshops have started offering visits which invite stakeholders and visitors, to perceive and recognize the
tourists to better understand the value and the know- importance and value of indigenous and rural cultures
how attached to their products. and their fashion-related creativity.

These visits sometimes include an immersive co-creation

experience through creative tourism. Such experiences
might range from exploring the complex design and
production of a perfume from its ingredients, typical of
the Middle East and North Africa regions, to learning how
to use a mechanical loom from the Quechua or Aymara
people in the Andes or Mayan communities in Central
America. It can suppose creating ones’ own batik in
Indonesia, enjoying an immersive experience while visiting
the watch making area in a rural setting in Switzerland or
leather processing in Marrakech (Morocco) or Florence
(Italy).

When managing tourist flows in culturally sensitive aeras,

indigenous communities or cooperatives of cultural
creators may wish to confine tourism to larger or smaller
group visits, depending on their economic and cultural
aspirations, or for displays of traditional dress or sacred
iconography, only for special occasions. Others may
stick to their traditional lives but feel pressured to receive
tourists seeking to experience or purchase garments,
rituals, jewelry, traditional households or Indigenous
lifestyle. In this case, tourism needs to be an engine for
intercultural dialogue and its development based on
previous, informed and explicit consent of indigenous
communities or other stakeholders, on what part of
their culture, related to fashion, in a broader sense, as Traditional batik painting cloth, Indonesia.
Copyright: © DONLY PURBA | Dreamstime.com
described in this report, can be shared with visitors.77

77 World Tourism Organization and World Indigenous Tourism Alliance (2023), Compendium of Good Practices in Indigenous Tourism – Regional Focus on the
Americas, UN Tourism, Madrid, DOI: https://doi.org/10.18111/9789284424184.
 34 Fashion and Cultural Tourism

4.3 How can destinations harness

the potential of media, technologies
and influencers?
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Tourism and fashion are also linked through specialized A case that exemplifies several elements is iWareBatik:
media and publishers. They are often featured next to a website and a mobile app designed to present and
each other in the “lifestyle” section of newspapers, or recognize (trough an Artificial Intelligence tool) the
the same publishers offer specialized magazines in both Indonesian textile heritage of batik – inscribed by
sectors. In addition, designers and content creators are UNESCO as an Intangible Cultural Heritage78 – so to
tapping into the immense potential of new social media inspire both domestic and international visitors to explore
and technological platforms to communicate the overall the places where it is being produced.79
fashion experience.
Virtual reality (VR) and augmented reality (AR), as well as
Tourism and fashion do not provide only products mixed realities (MR), in general, deserve a special mention
or services. They also aspire to offer relevant and in this chapter. The cultural tourism sector has been
memorable experiences that make images, both adopting a number of VA, AR and MR solutions, providing,
moving and still ones, a privileged tool to present these for instance, a reconstruction of an archaeological site,
experiences to the desired audience, anticipating what it solutions for persons with disabilities to experience
could mean to wear an outfit or to live in a place. For both cultural interpretation amidst the lack of physical access,
sectors, websites and social media are the main platforms or information on animals or trees in a natural park.
to showcase recommendations and review different Artificial intelligence, in particular, might add a fashion-
offerings. The digital realm is nowadays the main square related information layer to a painting or a sculpture,
where the value of places and of fashion is negotiated creating an engaging learning experience for the
and re-negotiated – where they become fashionable or audience. Artificial intelligence could answer questions
out-of-fashion. Such dynamics are not only driven by regarding the dress code of the represented persons and
human actors, but also by generative artificial intelligence, their cultural and historical context, or provide insights
increasingly involved in personalization processes. While into the name of the garments worn, the materials used
tourism has been deeply disrupted by digital media in in their fabrication, or their market value at the time they
transactions, fashion e-commerce has seen a major had been created. If combined with AR, it might offer the
acceleration during the COVID-19 pandemic. Currently, possibility to add specific garments to oneself or people
both sectors – tourism and fashion – are looking for an around.
omnichannel environment, a seamless experience across
physical and digital touchpoints. Companies and public Digital media do not only serve as channels to distribute
bodies are also digitizing archives, which offer materials content to narrow or large audiences. They are also
for fashion and tourism communication, attracting privileged platforms to listen to what people say about
customers to visit places. fashion destinations, so as to better understand their

78 United Nations Educational, Scientific and Cultural Organization – Intangible Cultural Heritage (2009), ‘Indonesian Batik’, UNESCO, Paris, available at:
https://ich.unesco.org/en/RL/indonesian-batik-00170 [05-02-2025].
79 Permatasari, P.A.; Ningrum, F.U.; Uriawan, W. and Cantoni, L. (2023), ‘More Than Words: Evaluating iWareBatik Digital Technologies in the Perspective of
Heritage Tourism’, in: Bassa, L. (ed.), Combining Modern Communication Methods with Heritage Education, Hershey: IGI Global, pp. 47–68,
DOI: https://doi.org/10.4018/978-1-6684-6217-1.ch003.
 Fashion and Cultural Tourism 35

image and reputation.80 For instance, a study made on influence” 84 where actors through humor raise awareness
X (formerly Twitter)81 about the relationships between about a more conscious, mindful and responsible use of
fashion and the four major fashion cities, was able to the social media.
uncover that the urban cultures, creative elements,
histories, and traditions play a crucial role in shaping the Some countries have undertaken campaign, engaging
representation and perception of fashion cities, making travel bloggers, content creators and influencers to
it essential for policymakers to adopt tailored policies promote their sustainability efforts and make an impact
rather than fixed place-branding strategies. on their audience behavior. Thailand launched “Silk Road
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Rediscovered” 85 focussing on responsible silk production

Key opinion leaders in fashion – be they designers, and traditional weaving techniques, engaging fashion
models, influencers or content creators 82
– are also influencers to showcase eco-friendly fashion and cultural
showcasing iconic attractions in their communication, heritage.
linking fashion items and styles to places. Furthermore,
they recommend places to visit, hotels to stay in,
restaurants and clubs to experience, offering tips to Social media network live recording of video/photo session.
Copyright: © Nattawat Chearananta | Dreamstime.com
followers and coming about as connoisseurs of places to
be “in” the fashion world. The creation of links between
fashion and places happens in particular through selfies,
where people represent themselves, both dressed in a
specific way or, e.g., with specific make-up, hairstyle or
suntan against the backdrop of a specific location. In
such selfies, tourism and fashion are staged at the same
time. Many fashion tourism destinations and brands are
successfully taping into this potential. They sign contracts
with well-positioned opinion leaders after conducting
study trips for bloggers and content creators, just as they
traditionally did with journalists and publicists through
fam trips.

There are yet concerns within the tourism sector

“[…] about inauthentic promotion leading to destination
overload” 83 and this may be detrimental if fashion
tourism destinations become too fashionable to visit and
suppose management issues for tourism authorities. New
Zealand launched a campaign “Travelling under the social

80 Marchiori, E. and Cantoni, L. (2011), ‘The Online Reputation Construct: Does it Matter for the Tourism Domain? A Literature Review on Destinations’ Online
Reputation’, Information Technology & Tourism, 13(3), pp. 139–159, DOI: https://doi.org/10.3727/109830512X13283928066715.
81 Casadei, P. and Lee, N. (2020), ‘Global cities, creative industries and their representation on social media: A micro-data analysis of Twitter data on the
fashion industry’, Environment and Planning A: Economy and Space, 52(6), pp. 1195–1220, DOI: https://doi.org/10.1177/0308518X20901585.
82 Pooley, K. (2023), ‘Get influenced: why DMOs use social media influencer networks for partnerships & leveraging content’, blog, published 26 October
2023, Granicus, Liverpool, available at: Get ready to be influenced: why DMOs are building social media influencer networks to create partnerships &
leverage content [06-02-2025].
83 Thraenhart, J. (2024), ‘ Fostering Balanced Tourism: The Role of Social Influencers, Content Creators, and Bloggers’, Balanced Tourism, available at:
https://balancedtourism.com/2024/04/14/fostering-balanced-tourism-the-role-of-social-influencers-content-creators-and-bloggers/#:~:text=Social%20
influencers%2C%20content%20creators%2C%20and%20bloggers%20can%20foster,tourism%20practices.%20By%20Dr.%20Jens%20Thraenhart%20
%28April%202024%29 [10-03-2025]
84 100% Pure New Zealand (2021), Travelling Under the Social Influence, available at: https://www.youtube.com/watch?v=Trs-isdu4eE
85 Thraenhart, J. (2024), ‘ Fostering Balanced Tourism: The Role of Social Influencers, Content Creators, and Bloggers’, Balanced Tourism, available at:
https://balancedtourism.com/2024/04/14/fostering-balanced-tourism-the-role-of-social-influencers-content-creators-and-bloggers/ [10-03-2025]
 36 Fashion and Cultural Tourism

4.4 Summary of the intersections

between tourism and fashion
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The following table provides key linkages between

tourism and fashion mapped against the four dimensions
of fashion, as proposed above (see figure 1.1); albeit for
sure incomplete, it offers a synoptic view.

Table 4.1: Map of the many relationships between tourism and fashion

Fashion Tourism related activities and practices

Dimension 1: Skin, hair and below ▬ Sun protection creams

Our body and its outer borders, encompassing skin and ▬ Wellness retreats (e.g., yoga or Pilates)
hair, and body shapes. It includes diets, fitness activities, ▬ Spa and thermal tourism
as well as tattoos, piercing, perfumes and cosmetics, and
▬ Medical tourism and plastic surgery
hairstyle, among others.

Dimension 2: Around me (in contact) ▬ Eyewear and sunglasses

All clothing items, shoes and accessories, among others, ▬ Proper clothing to visit religious attractions
which are put around our bodies. ▬ Sports clothing and equipment
▬ Luggage as a fashion item
▬ Ad-hoc cruise collections, by fashion brands
▬ Deseasonalizing fashion items and destinationwear
▬ Shopping tourism and souvenirs
▬ Tourism destinations as fashion capitals
▬ Fashion museums and exhibitions
▬ Textile and fashion practices as Intangible Cultural Heritage
enlisted by UNESCO

Dimension 3: Around me (less close) ▬ Fabrics and leather created by fashion brands as furniture and
The environment of a person, especially those items made other décor elements of tourism enterprises (e.g., hotels)
of fabric or leather – it is the world of furniture, décor of ▬ Transportation-related companies that own fashion brands
interiors, bed linen and of transportation vehicles, etc. ▬ Fashion brands that own hotels and restaurants

Dimension 4: Around me (wide) ▬ Lifestyle umbrella by newspapers and magazines

Specific cultural traditions, social practices, and individual ▬ Lifestyle tourism destinations created or promoted by fashion
styles, which collectively could be referred to as lifestyles. actors
▬ Lifestyle trends that cross both sectors (e.g., sustainability,
ecology, fitness, mindfulness, etc.)
▬ Mixed realities where dressed avatars live and act in specific
places

Source: Adapted from Sabatini, N. and Cantoni, L. (2023), ‘Linking Fashion and Tourism. From Body to Clothing and Lifestyle’, in: Gravari-Barbas, M. and
Sabatini, N. (ed.), Fashion and Tourism (Tourism Social Science Series, Vol. 26), Emerald Publishing, Leeds, pp. 33–46,
DOI: https://doi.org/10.1108/S1571-504320230000026003.
 Fashion and Cultural Tourism 37
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05
Case studies
This section features a selection of eleven case studies, collected from different countries,
namely Indonesia, Italy, Lebanon, Mexico, Nigeria, Peru, Republic of Korea, Saudi Arabia,
Spain, Switzerland, and Tanzania, that illustrate a wide range of socioeconomic and cultural
realities. They are presented under common denominators that feature major opportunities
and challenges in integrating creative industries, fashion and tourism.

Some of the success stories featured in this chapter include:

▬ Fashion tourism driven by local and indigenous communities (Tanzania and Peru);
▬ The delicate balance between tradition and innovation (Republic of Korea,
Indonesia, Switzerland and Lebanon);
▬ The potential of fashion events in attracting tourist flows (Nigeria and Italy);
▬ The significance of investment in marketing in fashion-related initiatives (Spain,
Mexico and Saudi Arabia).

These cases denote clearly that fashion-related activities are a powerful driver of tourism,
and that fashion tourism can benefit destinations, while promoting the empowerment
of local communities and supporting SMEs. This chapter also analyzes different ways in
which digital technologies and marketing campaigns can support small enterprises, while
promoting the safeguarding of cultural heritage and encouraging innovation.

Modern “wallpaper” pottery, Oaxca, Mexico. Copyright: © Matthew Bamberg | Dreamstime.com

 38 Fashion and Cultural Tourism

5.1 Fashion tourism and

traditional artisanship driven by
indigenous communities:
Tanzania and Peru
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Summary: Key words:

Local and indigenous communities can significantly cultural exchange | local communities | traditional
benefit from fashion-related initiatives. As shown in artisanship | sustainable growth
the Tanzania and Peru case studies, these tourism
experiences can enhance cultural exchange, drive
sustainable growth, and empower local economies.
Additionally, they promote the preservation of intangible
heritage, ensuring that traditional techniques and
cultural identities are celebrated and sustained for future
generations.

Process of natural dyeing of alpaca and llama wool, Quechua woman, Cusco, Peru. Copyright: © Nailotl Mendez | Dreamstime.com
 Fashion and Cultural Tourism 39

Case study 1:
Cultural creators at community level as key
allies in destination branding – Tanzania
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Tanzania, with its over 120 tribes,86 boasts a vibrant tourists to East Africa, by offering an immersive cultural
cultural environment, enriched by a great variety of experience and a powerful symbol of African heritage.
costumes and traditions, drawing visitors to experience Maasai fashion show-related activities have drawn
local traditions and contemporary designs. Fashion approximately 2,500 tourists, with most participants
tourism thus supports local economies by promoting joining village tours and fashion shows. At large
artisan crafts and bespoke clothing and enhancing events like the Maasai Global Festival,88 around 5,000
the destination’s appeal through exclusive shopping attendees engaged with Maasai culture and fashion.
experiences and personalized interactions. The creative The growing interest in Maasai fashion is positioning
economy in Tanzania is composed by a broad spectrum of Tanzania as a leading destination for cultural tourism.
artisans, designers, and fashion entrepreneurs who create This enthusiasm also supports the safeguarding of
clothing and accessories using traditional techniques indigenous traditions through sustainable tourism
and materials. By integrating these elements into tourism practices and the engagement of local communities.
experiences, Tanzania offers a deeper connection to its Similarly, in southern Tanzania, tribes such as the Ngoni,
cultural identity to visitors, while highlighting traditional Hehe, and Makonde offer unique cultural items, while
attire and fostering cultural exchange. Some of the main coastal regions Bagamoyo and Dar es Salaam are known
tribes in Tanzania, with distinct cultural traditions, include for kanga, kitenge and kanzu dresses.89 Key stakeholders
the Maasai, Sukuma, Ngoni, Swahili, Chaga, Hadzabe and include local artisans, fashion designers, cultural
Datoga. Tourists visiting northern Tanzania are particularly organizations, tourism agents, and the government.
drawn to Maasai culture,87 often purchasing typical These groups are promoting fashion as a significant
jewellery (shanga), blankets, and other arts and crafts. aspect of cultural tourism, ensuring a wide distribution of
Women’s groups collaborate to create traditional Maasai benefits. Tour operators play a crucial role in tours and
clothing, now popular among various tribes in Tanzania. cultural programmes that connect tourists with locals
in their villages, fostering full community involvement.
Furthermore, events like the Maasai fashion show – Additionally, by emphasizing sustainable fashion practices
promoted by Wonderland Maasai Festival and the and promoting eco-friendly products, these initiatives
Tanzania Tourist Board (TTB) – play a key role in attracting also align with broader sustainability goals, ensuring that

86 Encyclopaedia Britannica (2005), ‘Zanzibar and Pemba’, Encyclopaedia Britannica, Chicago, available at: https://www.britannica.com [05-02-2025].
87 More information about Maasai fashion nights information available at: The Exchange (n.d.), ‘Why Tanzanians love fashion’, available at:
https://theexchange.africa/industry-and-trade/why-tanzanians-love-fashion/ [05-02-2025].
88 The Maasai global festival is an event promoted by Wonderland Tours and Safari companies in collaboration with the Tanzania Tourist Board, which
showcases Maasai fashion, cuisine, and artisan craft. Further information available at:
Gazelle Africa (n.d.), ‘Tag: Maasai Global Festival’, availale at: https://gazelleafrica.com/tag/maasai-global-festival/ [08-04-2025].
89 Kanzu is the traditional male costume – a white or beige coloured robe used by men in the African Great Lakes region. Kanga is instead the main folk
garment of Tanzanian women. It is a rectangular cotton cloth with a printed pattern and (in most cases) a printed saying. The kitenge (vitenge in Swahili,
zitenge in Tonga) is an African garment similar to a kanga or sarong, common in Kenya, Uganda, Tanzania and other countries. It is worn around the hips,
torso or head and used as an infant swaddle. Kitenges are brightly coloured and often feature phrases in capital letters.
 40 Fashion and Cultural Tourism

tourism development supports both cultural preservation and techniques for future generations. Tourism visits
and ecological balance. also boost community development through funding of
programmes, building infrastructure and improving local
The tangible impacts of integrating fashion into Tanzania’s services. The income from products of the communities
tourism sector include: supports education and improves living standards.
Furthermore, entrepreneurship and capacity building
▬ Increased economic opportunities for local artisans help men and women develop their skills in fashion and
and designers; tourism, enhancing their capabilities and promoting
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their culture globally. The lessons learned highlight the

▬ Greater international exposure for Tanzanian fashion; importance of collaboration between the government
and and local communities in creating a cohesive strategy
benefitting all. However, the following challenges still
▬ Enhanced cultural exchange between tourists and remain:
local communities.
▬ Capital: There is a need for more investment to
By promoting traditional attire and fashion events, develop skills, expand operations, and compete
Tanzania has seen a boost in tourist arrivals seeking internationally;
authentic cultural experiences. This has led to higher
demand for locally made products, generating income ▬ Product development: Local products require added
and supporting small businesses. Additionally, fashion- value and refinement to be competitive in the global
related tourism has helped preserve traditional crafts market;

Maasai Global Festival held in Arusha, Tanzania. Copyright: © Maasai Global Festival
 Fashion and Cultural Tourism 41

▬ Marketing skills: There is a gap in marketing strategies, achieving better quality and market appeal
expertise and strategies to effectively promote local of local products. Furthermore, establishing networks
products; between fashion designers, tourism operators, cultural
organizations and international fashion bodies, would
▬ Infrastructure: Many artisans work from home or facilitate knowledge exchange and innovation. By
under makeshift conditions rather than in established creating a supportive ecosystem, these networks
offices or shops, limiting their visibility; could bridge the gap between local talents and global
markets, ensuring that Tanzanian fashion gains broader
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▬ Networking: There is a lack of connections between recognition. Additionally, increasing fashion initiatives
local communities and other stakeholders, including through strategic marketing campaigns and participation
potential product users, which hinders broader in international events could draw more global attention.
market integration. Sound policies that promote sustainable fashion
practices, provide financial incentives, and investment
To overcome these obstacles, continuous investment in infrastructure could create a conducive environment
in education, infrastructure and sustainable practices for the growth of fashion tourism. Government-backed
is crucial, ensuring that the benefits of fashion tourism initiatives, such as grants and subsidies for small
are long-lasting and inclusive. In Tanzania, external businesses, can help alleviate financial barriers and
support could enhance the integration of fashion and encourage local communities to participate in the fashion
tourism by providing access to capacity-building tools industry.
and training. This includes workshops on modern design
techniques, business management and marketing
 42 Fashion and Cultural Tourism

Case study 2:
Women as champions of indigenous textile
production – Peru
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La Tierra de los Yachaqs90 (The Land of the Yachaqs) is an ▬ The families within the communities, particularly
association composed by eight Quechua communities represented by women and younger generations;
located along the sacred valley of the Incas in the
Cusco region, and dedicated to community-based rural ▬ Companies, travel agencies, and tour operators, who
tourism. Among their activities, the interplay between help promote and showcase the cultural expressions
fashion, creative industries and tourism comes to life of Yachaqs communities through their packages; and
through the celebration of the cultural heritage of Andean
communities. The ancestral knowledge of the Quechuas ▬ The public sector, which plays a crucial role by
is deeply rooted in many cultural manifestations such acknowledging and supporting the efforts of
as music, Andean storytelling, traditional dances, and community tourism entrepreneurs.
the distinct attire of each community. Furthermore,
their traditions encompass diverse cultural expressions, The intersections between the creative economy,
including gastronomy, textile art, agriculture, traditional fashion, and cultural tourism have brought benefits to the
medicine and pottery. With the aim of preserving and communities through:
revaluing their ancestral culture, tourism is promoted
as a transformative and sustainable development ▬ The innovation of their textile products, while still
opportunity, whose benefits are equally distributed within using traditional weaving techniques;
the communities. Fashion plays a vital role in attracting
tourism, as it is deeply intertwined with culture. Fashion ▬ The creation of an alternative income source that
reflects the traditions, history and cultural identity of values Yachaqs traditions;
Quechua communities, and cultural tourism offers
travellers the opportunity to immerse themselves in and ▬ Community empowerment, which is largely driven
learn about these traditions. Through community-based by women, not only boosts the family economy but
and experiential tourism, the Yachaqs have revived their also generates entrepreneurship and employment
heritage, such as traditional weaving. Communities host elevating the quality of life for everyone involved in
workshops for visitors to learn crafting techniques and the process; and
actively participate in fairs and cultural events, drawing
tourists who are passionate about fashion and culture. ▬ Cultural pride and identities which not only
The main partners of the Land of the Yachaqs are: heightens community awareness of the environment
and its economic value but also creates a sense of
ownership by the diversification of income sources.

90 More information about La Tierra de los Yachaqs, consult: https://www.peru.travel/es/experiencias/la-tierra-de-los-yachaqs [11-03-2025].

 Fashion and Cultural Tourism 43

Significant challenges still persist, including the need to

continuously improve cultural tourism services to stay
aligned with the latest trends in tourism and fashion,
ensuring competitiveness in the rural community tourism
market. To be competitive, it is essential to provide
differentiated products and services that meet the quality
expectations of tourists. Additional challenges include
fostering cultural exchange, overcoming language and
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communication barriers, addressing social and political

conflicts within the country, and improving access to
digital platforms for marketing products and services.

The Land of the Yachaqs is working to overcome those

obstacles through projects promoting innovation of
their tourism offers. Additionally, education and training
are undeniably among the most vital resources for
the Yachaqs communities, alongside improved health
services, enhanced accessibility in rural areas, and the
implementation of entrepreneurship initiatives.

Artisans from the Chumpe community weaving, Peru. Copyright: © Pilar Montesinos
 44 Fashion and Cultural Tourism

5.2 Combining tradition with

innovation in fashion tourism
experiences:
Republic of Korea, Indonesia,
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Switzerland and Lebanon

Summary:
One of the main challenges in the intersection between
fashion and tourism is to achieve a delicate balance
between tradition and innovation. The cases of the
Republic of Korea, the Indonesian Batik, the immersive
experiences of watchmaking in Switzerland, and soap-
making in Lebanon, stand as dynamic examples of how
the creative economy can be leveraged to create unique
products. These cases also demonstrate how tourism
blends modernity with rich cultural traditions, at the
intersection of fashion, creativity and cultural heritage.

Key words:
traditional craftsmanship | innovation | fashion
shows | experiential tourism 91 | cultural activists

Tourists walking in hanbok at Gyeongbokgung Palace,

Republic of Korea. Copyright: © KTO-Beon-soo LEE

91 There is no official definition adopted by UN Tourism for experiential tourism thus far. It can be defined as: “immersive experiences – the kind that aims to
forge a deeper connection with a destination than can usually be had from traditional leisure holidays. These often involve an element of adventure, whether
physical, cultural or spiritual”. Definition from:
Newson, S. (2023), ‘Is experiential travel the next big trend?’, published 19 December 2023, National geographic, available at:
https://www.nationalgeographic.com [11-03-2025].
 Fashion and Cultural Tourism 45

Case study 3:
Fashion and beauty sectors shaping cultural
tourism – Republic of Korea
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The Republic of Korea has established itself as a global Recent reports from the Korea Tourism Organization
leader in the creative economy, particularly within the (KTO) reflect this trend, revealing a substantial increase in
sectors of fashion, beauty, and cultural tourism. Through foreign consumer spending, as follows:94
strategic investments in culture and innovative industries,
the country has amplified its global influence, with the ▬ Spending on beauty services has surged by
export value of Korean content reaching a record USD 113.5%;
13.24 billion in 2022. 92
The global popularity of hallyu, or
the Korean Wave,93 extends beyond the consumption of ▬ Medical services by 112.2%; and
K-pop, movies and dramas produced in the Republic of
Korea, drawing international travellers eager to immerse ▬ Fashion-related expenditures by 95.4%.
themselves in the country’s cultural landscape.
Overall, foreign tourist spending in the Republic of
This global fascination with K-lifestyle – encompassing Korea has surged by 43.9%, underscoring the country’s
learning the Korean language, savouring Korean cuisine, growing appeal as a premier destination where visitors
adopting beauty routines and following fashion trends can indulge in cutting-edge beauty treatments and
typical of the Republic of Korea – has evolved into a fashion shopping, experiences that are increasingly
strong demand for travel to the country. Driven by the intertwined with the country’s cultural offerings. A
desire to experience the culture first hand, international key contributor to the growth of the country’s beauty
fans of the Korean culture are significantly contributing to industry is the proliferation of beauty and fashion “road
the growth of the country’s tourism industry. shops” which offer high-quality products at competitive

92 Data from a 2023 study on the cultural content industry in 2022 conducted by the Ministry of Culture, Sports and Tourism and approved by Statistics
Korea. Information provided to UN Tourism through the questionnaire UN Tourism and USI used in the preparation of this report.
93 The Korean Wave, or hallyu is a cultural phenomenon in which the global popularity of the popular culture promoted by the Republic of Korea has
dramatically risen since the 1990s. It has become globally spread through K-pop, K-dramas, and films. The Korean Wave has been recognized as a form of
soft power and as an important economic asset for the Republic of Korea, generating revenue through exports and tourism. For more information, consult:
Choi, H. (2023). ‘The Korean Wave: From Global Consumption to Global Creation’, Sociétés, 161 (3), pp. 137–145,
DOI: https://doi.org/10.3917/soc.161.0137.
94 Data from 2024 Q1 (year-over-year comparison to 2023) by the Korea Tourism Data Lab. Information provided to UN Tourism through the questionnaire
UN Tourism and USI used in the preparation of this report.
 46 Fashion and Cultural Tourism

prices. These shops, particularly in Seoul’s vibrant but also in its ability to seamlessly integrate these modern
districts of Myeongdong and Hongdae, have reported elements with its rich cultural traditions. One of the most
sales increases of up to 50%, reflecting their popularity notable examples of Korea’s integration of fashion into
among international tourists seeking value and variety. To cultural tourism is the promotion of the Hanbok, the
further enhance the K-beauty shopping experience, the traditional Korean garment.
government provides immediate on-the-spot tax refunds
to international tourists (non-residents of Korea, visiting The government has implemented policies allowing free
for less than six months) at tax-free shops, including admission to cultural sites like Gyeongbokgung Palace
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more than 200 CJ Olive Young stores. This initiative for visitors wearing hanbok. This initiative serves as a
allows tourists to: powerful incentive for tourists to engage with Korean
culture through fashion, providing a tangible connection
▬ Either purchase goods at an immediate tax-free to the country’s history while also contributing to the
price from selective shops, such as the Olive Young revitalization of traditional clothing in a modern context.
Myeongdong Global Store; or Moreover, Korea has creatively utilized its historical and
cultural sites along with its iconic landmarks as backdrops
▬ Purchase goods at full price and receive tax refunds for international fashion events. Notably in 2023, Gucci
directly at the point of purchase, eliminating the need hosted a fashion show at Gyeongbokgung Palace,96
for additional airport procedures and encouraging supported by the Cultural Heritage Administration,
more spending. presenting a fusion of traditional Korean culture
with contemporary fashion. Gucci’s show attracted
Another notable fashion-related experience that is international audience, recording 4.3 million views on
inspiring international tourism is personal colour analysis. Gucci’s official YouTube Channel. In the same year, Louis
This service, especially popular among Gen Zs , 95
Vuitton transformed the Jamsugyo Bridge over the Han
provides tailored fashion and beauty recommendations River into a runway and rented the Sebitseom complex97.
on individual choices around clothing, makeup, and The Seoul Metropolitan Government granted permission
accessories based on complexions, features, and for the closure of the bridge during weekends for the show
skin tone. Since it reflects the personalized and highly to host high-profile events in such an iconic location. This
sophisticated nature of the country’s fashion and fashion show attracted a host of international celebrities
beauty sectors, such offerings not only cater to the and has garnered over 2.3 million views on Louis Vuitton’s
aesthetic desires of tourists but also enhance their overall YouTube Channel. These events promote Korea’s cultural
experience, making fashion and beauty an integral part of heritage in a modern context and showcase creative
their cultural exploration. Furthermore, the global appeal use of its iconic landmarks as stages for global fashion,
in the fashion and beauty industries of the Republic of thereby enhancing the country’s appeal as a destination
Korea is rooted not only in its contemporary innovations that offers cultural depth and cutting-edge style.

95 Generation Z: people born between 1997 and 2012.

96 More information about Gucci fashion show at Gyeongbokgung Palace available at: Gucci (2024), ‘The wonder of Gyeongbokgung Papace’, available at:
https://www.gucci.com/us/en/st/stories/article/gucci-cruise-2024-fashion-show-showspace [05-02-2025].
97 More information about Louis Vuitton fashion runaway available at: Louis Vuitton (2023), ‘Louis Vuitton creates a striking moment on Jamsugyo Bridge with
its first prefill show’, news, published 5 April 2023, available at:
https://www.lvmh.com/news-lvmh/louis-vuitton-creates-a-striking-moment-on-jamsugyo-bridge-with-its-first-prefall-show [05-02-2025].
 Fashion and Cultural Tourism 47
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Tourists taking selfies in hanbok at Gyeongbokgung Palace, Republic of Korea. Copyright: © KTO-IR Studio
 48 Fashion and Cultural Tourism

Case study 4:
The cultural expression and promotion of
batik making – Indonesia
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Indonesia’s creative industry contributes 7.8% to its ▬ Trisakti Institute of Tourism is a research tourism
GDP, encompassing culinary, fashion, and handicrafts. In institute promoting excellence in sustainable tourism
terms of tourism statistics, Indonesia’s tourism industry and education in Indonesia;
contributes over 2% of its GDP, with Bali being a popular
destination. According to the Ministry of Tourism and ▬ Pesona Desa Nusantara is a foundation dedicated
Creative Economy, in 2023, fashion accounted for 17% to empowering and developing villages across
of the total 25 million jobs in Indonesia. 98
Fashion plays Indonesia through culture. It organizes workshops
a significant role in attracting tourists to Indonesia, in textile villages, promoting local tourism, and
showcasing the country’s rich cultural heritage through valorisation of local craftsmanship;
textiles and destinations. Indonesia boasts renowned
textile heritage, including batik99 and Noken Papua100, ▬ CAVENTER (Culture, Art, Community Development,
recognized by UNESCO as intangible cultural heritage. 101
and Ecotourism Center) is a platform focussing on
Fashion designers and brands blend traditional elements education and promotion related to community
with modern collections, merging heritage with development and sustainable tourism. In partnership
innovation. Across Indonesia’s 34 regions, fashion events with Pesona Desa and CAVENTER, the Ministry of
like Jakarta Fashion Week (JFW), Jakcloth, Banyuwangi Tourism organizes capacity building workshops at
Fashion Week, and Indonesia Fashion Week exhibit the the destination;
rich creativity of local and international designers. 102
Main
stakeholders in the Indonesian fashion-tourism sphere ▬ Solo government, Central Java provincial
include: government and the Ministry of Tourism.

▬ Batik Danar Hadi is a fashion company that leverages Batik Danar Hadi,103 a renowned batik producer and
on batik textile as intangible cultural heritage artistry exporter, plays a crucial role in connecting fashion
in the context of cultural preservation and tourism heritage and tourism in Indonesia. The company upholds
valorisation; its vision by developing high-quality batik products that
showcase intricate designs, motifs and techniques,

98 Kusumaningrum, D.N.; Prasetya, D. and Wibowo, N. (2024), ‘Unveiling Creative Economy Resilience in Indonesia amidst the Global Pandemic: A Media
Analysis’, Innovation in the Social Sciences, 2(1), pp. 1–33, DOI: https://doi.org/10.1163/27730611-bja10022.
99 Batik is an Indonesian technique, originally from Java, of producing coloured clothes by the application of wax-resist dyeing.
100 Noken is a knotted net or woven bag made from wood fibres, leaves, typical of the Western region of New Guinea.
101 United Nations Educational, Scientific and Cultural Organization – Intangible Cultural Heritage (2012), ‘Noken multifunctional knotted or woven bag,
handcraft of the people of Papua’, UNESCO, Paris, available at:
https://ich.unesco.org/en/USL/noken-multifunctional-knotted-or-woven-bag-handcraft-of-the-people-of-papua-00619 [05-02-2025].
United Nations Educational, Scientific and Cultural Organization – Intangible Cultural Heritage (2009), ‘Indonesian Batik’, UNESCO, Paris, available at:
https://ich.unesco.org/en/RL/indonesian-batik-00170 [05-02-2025].
102 Permatasari, P.A.; Haqi, F.I.; Ningrum, F.U. and Dewi, T.R. (2023), ‘Fashion Heritage Destinations: The Twist of Tradition in Modernity’, in: Gravari-Barbas, M. and
Sabatini, N. (ed.), Fashion and Tourism (Tourism Social Science Series, Vol. 26), Emerald Publishing, Leeds, pp. 75–9,
DOI: https://doi.org/10.1108/S1571-504320230000026006.
103 Batik Danar Hadi website available at: https://danarhadibatik.com/en/danar [05-02-2025].
 Fashion and Cultural Tourism 49

promoting textile heritage distinctively recognized 1. The importance of cultural heritage preservation in
in fashion. Rooted in a family business, Batik Danar creative sector;
Hadi demonstrates corporate social responsibility by
preserving the history of Javanese royal textile culture 2. Economic contribution that sustains artisans and
through the Danar Hadi Museum. As an iconic cultural craftspeople; and
tourism destination in Solo city, Central Java, this museum
showcases more than 1200 pieces of ancient batik 3. The value of experiential learning in tourism activities.
textiles and offers specialized tour operator, boutique
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and textile workshops. The company’s international The main challenge faced by Danar Hadi was to find a
clientele enhances the global appeal of batik through way to preserve tradition while embracing innovation.
batik fashion shows, offering a variety of motifs inspired The company shows resiliency in navigating this delicate
by the coastal, rural, and royal culture of Central Java. As balance. Danar Hadi also serves as an example of a
tourists visit the gallery and purchase batik, this creates thriving family legacy, ensuring commitment and the
a meaningful cultural exchange with local artisans. continuity of traditional knowledge and values transferred
Batik Danar Hadi stands as one of Indonesia’s major from one generation to the next. They also involve young
companies, successfully bridging fashion heritage and cultural activists and artists in their specialized tours
tourism, and providing interactive experiential learning for and batik workshops. However, additional challenges
both domestic and foreign tourists. arise as fashion trends evolve. The businesses should
continuously advocate for and educate about the
Batik Danar Hadi significantly contributed to the cultural importance of honouring textile tradition amidst the
preservation of Central Java. Three notable lessons competitive market and ever-changing customer
include: preferences. Danar Hadi works with local government,
enterprises and related stakeholders in launching different
initiatives. Promotion through Indonesian embassies and
foreign affairs agencies would be beneficial and shed
light on the Indonesian batik globally.

Batik workshops in the Danar Hadi Museum and participants of USI UNESCO Summer School during an educational tour visit,
Indonesia. Copyright: © Trisakti Institute of Tourism Indonesia
 50 Fashion and Cultural Tourism

Case study 5:
Watch making craftspeople partnering with
DMOs – Switzerland
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Watch Explorer,104 is a brand based in Neuchâtel in was described by Karl Marx as a “huge factory-town” in
Switzerland offering watchmaking-related tourism Das Kapital107 where he analysed the division of labour in
experiences. It operates under the aegis of the Tourism the watchmaking industry of the Jura.108
Promotion Bureau Tourisme neuchâtelois as a public-
private undertaking, opening the doors of watchmaking Tourism creates the following dynamics in this area of
factories, private workshops and emblematic historic sites Switzerland:
to tourists. Watch Explorer’s watchmaking activities are
about an exchange between visitors and watchmaking ▬ Catering to a specific market of watch enthusiasts
craftsmen and craftswomen, while preserving the cultural or visitors curious to learn about watchmaking,
and historical heritage of the Pays de Neuchâtel, which through an immersive and creative experience;
has been telling the world the time since 1705. The
watchmaking tourism experience was set up in the ▬ Enabling specialist guides to present to small group
wake of La Chaux-de-Fonds/Le Locle’s inclusion on of visitors or through exclusive private tours, the
UNESCO’s World Heritage List 105
for their watchmaking world-renowned watchmaking manufacture and the
town planning; furthermore, UNESCO has also inscribed outstanding timepieces in the brands’ collections,
the “Craftsmanship of mechanical watchmaking and art within the same locations;
mechanics” on the representative List of the Intangible
Cultural Heritage of Humanity.106 ▬ Generating a deeper vocational attachment of
artisans to their work, maintaining the know-how of
The site consists of two towns in the Swiss Jura mountains, this industry for the future generations;
on land ill-suited to farming. Their urban planning reflects
watchmakers’ need of rational organization, as these ▬ Anchoring the link between the region, its history
two towns owe their existence to this single industry. and the development of watchmaking, generating
The layout of both locations has accommodated the substantial economic spin-offs; and
transition from the artisanal production of a cottage
industry to the more concentrated factory production ▬ Building social-media presence of the artisan
of the late 19th and 20th centuries. La Chaux-de-Fonds craftsmanship.109

104 For more information on Watch Explorer consult: https://watchexplorer.swiss [05-02-2025].

105 United Nations Educational, Scientific and Cultural Organization – World Heritage Convention (2009), ‘La Chaux-de-Fonds / Le Locle, Watchmaking Town
Planning’, UNESCO, Paris, available at: https://whc.unesco.org/en/list/1302/ [05-02-2025].
106 United Nations Educational, Scientific and Cultural Organization – Intangible Cultural Heritage (2020), ‘Craftsmanship of mechanical watchmaking and art
mechanics’, UNESCO, Paris, available at: https://ich.unesco.org/en/lists [20-02-2025].
107 Das Kapital is one of Karl Marx’s most significant works, focussed on the analysis of the capitalist mode of production.
Marx, Karl (1867), Das Kapital – Kritik der politischen Oekonomie, Verlag von Otto Meisner
108 United Nations Educational, Scientific and Cultural Organization – World Heritage Convention (2009), ‘La Chaux-de-Fonds / Le Locle, Watchmaking Town
Planning’, UNESCO, Paris, available at: https://whc.unesco.org/en/list/1302/ [05-02-2025].
109 Social media accounts available at: www.instagram.com/watchexplorer.swiss and www.facebook.com/watchexplorer.swiss.
 Fashion and Cultural Tourism 51

Watch Explorer offers through its web portal a wide range The greatest challenge has been to introduce the
of activities in an innovative and appealing way to web general public to watchmaking, and the World Heritage
visitors and potential clients, such as Manufacture and listing was instrumental in addressing this shortcoming.
Watchmaking heritage tours, “Make your own watch”, The watchmaking industry is extremely dynamic, which
“Meet the watchmakers” and Watchmaking museum implies permanent changes in management and
experiences, as well as “Watchmaking” stays.110 partnerships, but also in addressing economic crises
that have a direct impact on this kind of tourism product
development.
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Atelier d’initiation, Watch Explorer, Switzerland. Copyright: © Tourisme neuchâtelois

110 More information about activities organized by Watch Explorer available at: https://watchexplorer.swiss/en/activities/.
 52 Fashion and Cultural Tourism

Case study 6:
The art of soap-making empowering local
communities – Lebanon
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The fashion sector has an immense potential for tourists the company’s workshops in full day activities and then
visiting the Middle East, 111
with Khan Al Saboun, 112
continue their journey. Visitors come both from within
located in Tripoli area, Lebanon, standing out for its blend Lebanon and abroad, particularly France, Italy, the United
of traditional, organic elements and contemporary trends. States of America and the Gulf Cooperation Council
Khan Al Saboun is a business built on strong family bonds, states.113 One of the company’s significant achievements
love for the land and commitment to renewable energies. is the growing international recognition of Lebanon’s
The company operates without external funding sources, heritage through soap-making and organic skincare.
but it does frequently collaborate with local municipalities
and schools. For major events or educational workshops, Blending tradition with modern sustainability-driven
close collaboration with local institutions is key to practices not only safeguards cultural heritage but
ensure their success. At Khan Al Saboun, the deep also broadens market outreach. A key challenge lies
interconnection between creative economy, fashion and in meeting high demand for organic products while
cultural tourism is shown by mixing Lebanese heritage upholding the same handcrafted quality and attention to
of traditional soap-making with a modern organic detail.
skincare approach. The company involves a variety of
stakeholders, such as local artisans and designers, as Some of the future goals and challenges include:
well as academic researchers and tourists. By focusing
on sustainable and organic products, this business ▬ Continually enhancing processes while staying true
provides jobs and empowers local communities. to traditional roots;
Tourists are welcomed either through organized tours or
individually. The company works with tour operators and ▬ Receiving external support through capacity
travel agencies to facilitate group tours offering a unique building for local artisans and craftspeople;
experience that blends heritage and craftsmanship. Khan
Al Saboun also partners with tourism promotion boards ▬ Boosting the project’s visibility through government
to raise awareness about the cultural aspects and artistry efforts to promote Lebanon as an ecotourism and
of the company’s processes and the people behind them. cultural destination based on traditional crafts; and

At Khan Al Saboun, visitors can enjoy a range of engaging ▬ Forming networking platforms that connect local
activities, from hands-on workshops to craft personalized designers and businesses with international markets
soap designs. While the company does not directly and tourists.
provide accommodation services, they offer helpful
information for arranging nearby lodging for tourists
wishing to extend their stay. Most tourists participate in

111 Carruthers, C. (2023), ‘The Next Chapter: Fashion Markets Across the Middle East Are Poised for Greatness’, published 12 December 2023, Harper’s Bazaar
Arabia, available at: https://www.harpersbazaararabia.com [27-02-2025].
112 Consult the Khan Al Saboun website at: https://khanalsaboun.net/ [30-10-2024]
113 Consult the Gulf Cooperation Council website at: https://www.gcc-sg.org/en/Pages/default.aspx [27-02-2025].
 Fashion and Cultural Tourism 53
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A woman from Khan Al Saboun team doing a facial treatment for a customer, Lebanon. Copyright: © Amir Hassoun
 54 Fashion and Cultural Tourism

5.3 Untapping the potential

of fashion events and cultural
experiences to attract tourists:
Nigeria and Tuscany (Italy)
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Summary: Key words:

Fashion and cultural identity of a place are often experiential tourism | craftmanship | traditional crafts |
translated into experiential tourism products and events. community engagement | sustainable practices
By showcasing local traditions, craftsmanship, and local
style, fashion events become a powerful tool through
which travellers can connect with a destination. The
cases of Nigeria and Tuscany highlight how artisanal
craftsmanship, brand museums, fashion shows and
events can drive tourism by showcasing a region’s
heritage and traditions, while creating jobs and promoting
sustainable practices.

Ojude Oba Festival in Ogun, Nigeria. Copyright: © Tolu Owoeye | Dreamstime.com

 Fashion and Cultural Tourism 55

Case study 7:
African fashion events attracting domestic
and international tourists – Nigeria 117
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Fashion is an integral part of Nigeria’s cultural identity, of a destination. The hackathon seamlessly dovetailed
while representing a significant attraction for tourists. with the 6th edition of the Pyne Awards Africa,117
The Nigerian Tourism Development Authority (NTDA) celebrating the excellence, growth, and hard work of all
leverages the country’s diverse fashion heritage to draw stakeholders in the hospitality and tourism industry in
international visitors. Indeed, events like African Fashion Nigeria and Africa. Themed “Made in Africa”, the grand
Week Nigeria showcase local designers and traditional finale integrated traditional and contemporary African
textiles, attracting thousands of tourists each year. These fashion, attracting over 500 participants, tourists from 20
events highlight Nigeria’s contemporary fashion scene nationalities, as well as industry stakeholders, investors,
while also emphasizing traditional crafts, such as the and government representatives.
production of adire and ankara fabrics.115
The Hackathon successfully highlights the linkages
Key stakeholders include local artisans, fashion designers, between fashion and cultural tourism by fostering
community leaders, tour operators and fashion event innovative solutions that leverage cultural assets
organizers. NTDA’s initiatives link the creative economy, through tourism experiences. In doing so, the Hackathon
fashion and cultural tourism by promoting Nigeria’s promoted:
textile and fashion heritage as a core part of the tourism
experience. By integrating fashion into tourism, NTDA ▬ Community and stakeholder engagement:
creates a unique selling point differentiating Nigeria The hackathon involves various community and
from other destinations. These efforts contribute to stakeholder groups, local artisans, fashion designers,
sustainable development of tourism by empowering cultural historians and tourism operators. By
local communities through job creation and preserving bringing these groups together, a collaborative and
traditional craftsmanship. Tourists gain an immersive knowledge exchange platform was established;
cultural experience, while local economies benefit from
increased revenues and international exposure. The ▬ Sustainable development practices: The
Tourism Hackathon Nigeria 116
held in Lagos in 2023, is an programme emphasizes sustainable tourism
example of how fashion is playing a key role in attracting practices that respect and preserve cultural heritage;
tourists by showcasing the unique cultural expressions

114 Unless otherwise stated, the information for the preparation of this case study was provided by Bedouin Limited to UN Tourism through the questionnaire
UN Tourism and USI used in the preparation of this report.
115 Adire is a traditional indigo-dyed fabric from south-western Nigeria, known for its unique resist-dyed patterns. Ankara fabric, popular across Africa, is
characterized by bold colours and designs, it is primarily printed on cotton but is also available in polyester and polycotton versions.
116 Consult the Tourism Hackathon website at: https://hack4tomorrow.com/ [05-02-2025].
117 Pyne Awards Africa is a privately-owned boutique Events & Consulting Company, founded in 2018, specialized in providing services for the African
Hospitality and Tourism Industry. For more information consult: https://thepyneawards.com/awards/2023-winners/ [05-02-2025].
 56 Fashion and Cultural Tourism

▬ Economic empowerment: By highlighting and Lessons learned highlight the importance of multi-
commercializing local heritage and culture, the stakeholder cooperation engaging local artisans,
hackathon creates new revenue streams for designers, tourism operators and government
communities, providing an opportunity for artisans agencies, as well as the need for building partnerships.
to promote their creations to a broader audience. Adaptability is crucial in these processes. Each region
This contributes to the sustainable development of has unique cultural traits and challenges, and tailored
tourism, as it ensures a more equitable distribution of approaches are necessary to harness these assets.
benefits; and Additionally, promoting the project’s sustainability has
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been beneficial not only for the environment but also in

▬ Educational and promotional activities: Workshops attracting eco-conscious tourists. Significant challenges
and exhibitions not only enrich the tourist experience, include managing logistics, ensuring the preservation
but also raise awareness about cultural preservation. of traditional techniques amidst modernization, and
developing infrastructure to host these events. External
The Tourism Hackathon Nigeria resulted into several support is thus crucial in providing capacity-building tools
tangible outcomes. The programme directly contributed for designers, creating robust networks between fashion
to economic growth by supporting 15 startups and and tourism stakeholders, and enhancing project visibility
empowering over 150 young tech entrepreneurs in through international marketing campaigns. Supporting
the travel and hospitality industry. These startups have local artisans and startups to gain access to broader
generated business opportunities and created jobs in their markets, overcoming entry barriers and connecting
respective communities. Additionally, projects developed these businesses with customers, is critical for long-term
through hackathons have led to the preservation and success. Finally, raising awareness about the importance
promotion of local cultural heritage, including traditional of cultural preservation and sustainable tourism among
fashion. This has increased awareness and appreciation local communities and tourists requires continuous
of local cultures among tourists and residents. Finally, education and advocacy.
by incorporating local fashion and cultural elements
into tourism experiences, the overall tourist experience
could be significantly enriched, leading to higher tourist
satisfaction and an increase in repeat visits.

Nigerian women showcasing their traditional attire at the Festival ojude oba en ijebu Ode, 2023, Nigeria.
Copyright: © Tolu Owoeye| Dreamstime.com
 Fashion and Cultural Tourism 57

Case study 8:
Tuscan craftsmanship and cultural
experiences opting for sustainability – Italy
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In Tuscany, fashion has always been an expression of local and international tourists, enabling them to discover
culture, embodying elegance and the constant pursuit the excellence of fashion creations and the history and
of beauty. It is also a vital component of the regional tradition of raw material processing. Besides TPT, several
economy, thriving as a key industrial and artisanal sector. partners are involved, including the local DMOs, craft and
Since the middle age, Tuscany has been the birthplace of industry associations, Tuscan destination management
processes integral to the fashion industry, including the companies and tourist guides. In fact, the relationship
production of wool, silk, leather and jewellery. This long- with craftspeople and industrial entrepreneurs in the
dated traditions, coupled with the curiosity of visitors fashion sector is crucial in designing tourist offerings
willing to delve into fashion processing, created a strong according to their production needs. An ever-increasing
connection between this industry and tourism. link with private museums and foundations is key, as
they host seminars and workshops catering to the
The fashion landscape in Tuscany is predominantly tourism ecosystem professionals. Furthermore, higher
composed by: education institutions, trade shows and fashion-related
events contribute to the region’s prominence, attracting
▬ Handicrafts and small and medium-sized industries students, scholars and international business leaders
(Gucci, Ferragamo, Prada and other main labels were associated with global brands. These activities enhance
born from craftspeople, and even today a large part the visibility of Tuscany, showcasing its exceptional
of their production is carried out by small artisan culture and local productions.
workshops);
Fashion in Tuscany is also a driver of sustainability, as the
▬ Museums, trade shows and events; and region has a long history of circular economy practices.
Specifically, within the industrial district of Prato, all
▬ Schools of higher education attended by international components necessary for production are created and
students. processed with waste frequently recycled into new
products. Additionally, circular economy leads some
Given the strong connection between tourism and factories to reinvent themselves as places of culture and
fashion, Toscana Promozione Turistica (TPT), 118
the social aggregation. This is what happens at the Turismo
regional DMO, is actively engaged in this area through Industriale Prato (TIPO) festival,120 where textile factories
two main projects: the Toscana Artigiana craftsmanship organize shows, seminars, art and culture, becoming the
project and industrial tourism 119
. These initiatives were factory itself a place to visit and enjoy. Another key aspect
conceived to open the doors of factories to national of sustainability in Tuscany is the preservation of its

118 Italian name for Tuscany Tourism Board. Website available at: https://www.toscanapromozione.it/ [05-02-2025].
119 Industrial tourism can be described as a type of tourism that involves visiting industrial sites of the present, past or future. This form of tourism
encompasses locations no longer active in their original industrial function, as well as experiences focused on the exploration of industrial knowledge,
material and/or immaterial heritage. Definition from:
Montenegro, Z.; Marques, J. and Sousa, C. (2022), ‘Understanding the Concept of Industrial Tourism – A systematic review of the literature’, Proceedings of
the 5th International Conference on Tourism Research 2022, 15(1), pp. 271–280, DOI: https://doi.org/10.34190/ictr.15.1.235.
120 Website available at: https://www.pratoturismo.it/it/cosa/tipo-turismo-industriale/ [05-02-2025].
 58 Fashion and Cultural Tourism

natural landscapes from pollution. A major example is the

tanning industry along the Arno river between Florence
and Pisa, which has invested in one of the world’s
most advanced purification systems. This traditionally
high-pollution process is now environmentally friendly.
The tanners’ consortium organizes guided tours and
workshops for schools and tourists on the art of tanning
while ensuring environmental preservation. Primary
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challenges include:

▬ Promoting Tuscan fashion’s rich culture globally

through effective communication channels and the
fashion industry itself;

▬ Raising awareness about the value and

craftsmanship behind each creation;

▬ Establishing cooperation through local and

international networks to boost the fashion-tourism
nexus and achieve significant results in this realm;
and

▬ Reaching a delicate balance between increasing

tourist visits to fashion companies while preserving
their core essence.

Tuscan fashion, a true ambassador of beauty, is artisanal,

environmentally respectful and unique. It is rooted in its
rich history and ancient traditions.

Hand-made shoes, Florence, Italy.

Copyright: © Antico Setificio Fiorentino
 Fashion and Cultural Tourism 59

5.4 Harnessing the power of

investment in marketing in fashion-
related initiatives:
Only in Madrid (Spain) and
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Original (Mexico)

Summary:
Marketing campaigns and digital technologies are
powerful tools for enhancing and promoting fashion
and tourism-related initiatives. They offer businesses
opportunities and innovative ways to connect with
global audiences, unlock new market opportunities, and
significantly increase brand visibility. Additionally, these
strategies contribute to the preservation of cultural
heritage, integrating traditional values into modern
fashion while expanding its global reach and influence.
The cases of Only in Madrid, Spain, and Original, Mexico,
show how public-private partnerships can harness the
potential of marketing, events and digital technologies in
supporting SMEs.

Key words:
digital technology | marketing campaigns | social
media | commercialization | small and medium-sized
enterprises (SMEs) | public-private partnership

Blue pottery exhibition, Mexico.

Copyright: © Smandy| Dreamstime.com
 60 Fashion and Cultural Tourism

Case study 9:
Only in Madrid Campaign promoting good
governance – Spain
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The “Only in Madrid” campaign is a joint initiative by the and Industries (Confederación Empresarial de Madrid –
Regional Government of Madrid, the Madrid City Council, CEIM), Travel Agents Federation of Madrid (Federación
and IFEMA MADRID, 121
launched to improve the region’s Empresarial de Asociaciones Territoriales de Agencias de
positioning within the long-haul inbound markets. The Viajes Españolas de la Comunidad de Madrid – FETAVE),
campaign is promoting Madrid as a top destination, ‘Hostelería Madrid’ and the Professional Congress
highlighting the unique combination of art, culture, Organization of Madrid (OPC Madrid).122 “Only in Madrid”
fashion and gastronomy that makes the “madrileño” sets promotional activities in 16 key markets in the
lifestyle, around three key objectives: Americas, Asia and the Middle East, targeting high-impact
tourists. With a strong emphasis on digital marketing,
1. Positioning: improving the positioning of the region branded content, air connectivity, influencer partnerships
and the city of Madrid within worldwide markets, and co-marketing initiatives, the campaign123 showcases
while also strengthening its brand internationally; unique experiences to be found only in Madrid. In addition
to the campaign, there is a product development exercise
2. Commercialization: the campaign seeks to expand to highlight fashion in Madrid: The Spanish designer
the impact of promotional and commercialization fashion tours. Launched by ACME (Asociación Creadores
activities while meeting efficiency, quality and de Moda de España), the Madrid City Council, and the
sustainability criteria; and Regional Government of Madrid, this itinerary made up
of 43 small and medium-sized firms, showcases shops
3. Promotion: it emphasizes aligned planning and and ateliers of Spanish textile and accessories designers
development of promotional activities through an in specific areas of the capital. From its eco-conscious
efficient public-private collaboration. streetwear and colourful styles to timeless garments,
Madrid is a “mecca for all breeds of fashion lovers”124.
Key partners are the Regional Government of Madrid, Fashion is a central element in the whole operation, and
the Madrid City Council, IFEMA MADRID and the Madrid it is highlighted in the creative assets and campaign
Experts in Tourism Panel. The Panel is composed by the microsites125 as follows:
main tourism associations of the Region: Association for
Hotels in Madrid (Asociación Empresarial Hotelera de “Century-old tradition ensures that certain treasures can
Madrid – AEHM), Madrid Confederation of Employers be found only in Madrid. Skilled artisans bring irreplaceable

121 IFEMA MADRID is a consortium formed by the Community of Madrid, the Madrid City Council, the Chamber of Commerce and Industry, and the
Montemadrid Foundation. Website available at: https://www.ifema.es/ [20-02-2025].
122 These associations have chosen the private companies that will represent them, these being: Acotex, El Corral de la Morería, El Corte Inglés, Four Seasons,
Iberia, Marriot Auditorium, Meliá, NH Hotels and The Madrid Edition, which are also joined by the representatives of the Regional Government of Madrid, the
Madrid City Council and IFEMA MADRID.
123 In 2023, the “Only in Madrid” campaign closed impacting an audience of over 246 million people, with results reaching an equivalent advertising value of
over EUR 35 million.
124 From an article that is part of co-marketing actions of Only in Madrid campaign. Consult the full article: Departures Magazine (n.d.), ‘Madrid à la mode’,
available at: https://www.departures-international.com [05-02-2025].
125 A total of 10 microsites have been created tailored to each market´s audiences and needs. Each of these microsites shows a specific section dedicated to
fashion, artisanry and shopping.
 Fashion and Cultural Tourism 61

value to the fashion scene, crafting exclusive pieces that broader potential, emphasizing the social and economic
reflect the region’s rich cultural heritage. Unique hand- aspects of sustainability by spreading the positive
made garments such as Spanish capes, espadrilles impact of tourism across the value chain. Additionally,
or hats will elevate your style and help you explore by targeting outbound markets with diverse travel
picturesque areas in the capital and surrounding towns. patterns, the campaign helps mitigate seasonality. The
Are you ready for an inimitable shopping experience?”126 main challenge lies in effectively coordinating many
stakeholders. To address this, the Tourism Panel has been
The campaign also highlights the competitive advantage established, where all activities are proposed, discussed
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and unique value proposition of having an urban and and approved. The initiative’s success is therefore
non-urban offer close to each other. Picturesque villages, defined by its strong governance model for public-private
castles, vineyards and nature within half an hour of the collaboration, strategic alliances, optimal use of public
city center attract extended audiences. This is how the resources and comprehensive, sustainable management.
campaign also contributes to highlighting the region’s

Exterior photo of Antigua Casa Crespo shop, Madrid, Spain. Copyright: © IFEMA MADRID

126 Only in Madrid (n.d.), ‘Shopping’, available at: https://onlyinmadrid.com/ [05-02-2025].

 62 Fashion and Cultural Tourism

Case study 10:

Promotion of artisanal craftsmanship
through the Original movement – Mexico
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Original127 is a movement that seeks to promote the of the 21st century. Original enables artisans to develop
appreciation of artisan work, specifically Mexican business skills and tools to promote the growth of their
artisanal craftsmanship’s diversity, developing training ventures. The event takes place each November and
and campaigns to highlight the cultural and heritage value includes more than 100 activities such as fashion shows,
of the country’s textile traditions. Education and training forums, demonstrations, exhibitions and children’s
stand as core principles of the Original movement, which activities. Approximately 1000 artisans exhibit textiles,
enables artisans to develop socially, economically and jewellery, accessories, and decorative art.128 In addition,
professionally, empowering them to face the challenges artisans from Canada, Chile, Colombia, Saudi Arabia, Italy,

Indigenous artisan walking down the runway with two models wearing her clothing, during Original 2023 in Mexico City, Mexico.
Copyright: © Abraham Goldsmit Karakowsky

127 Website of the Original movement available at: https://original.cultura.gob.mx/ [05-02-2025].

128 Gobierno de México – Secreatría de Cultura (2024), ‘Más de mil artesanas y artesanos se reunirán en Los Pinos para la cuarta edición de ORIGINAL, del
14 al 17 de noviembre de 2024’, Original, available at: https://original.cultura.gob.mx/mas-de-mil-artesanas-y-artesanos-se-reuniran-en-los-pinos-para-la-
cuarta-edicion-de-original-del-14-al-17-de-noviembre-de-2024/ [10-03-2025]
 Fashion and Cultural Tourism 63

Norway and Peru, have also participated. In 2023, the ▬ 90% have been able to implement new tools in their
event attracted 250,000 visitors,129 with 85% of visitors economic and artisanal activities (such as labelling
coming from Mexico City and the State of Mexico, and processes, online sales and calculating costs and
4% of foreigners; 41% of visitors had attended previous sale prices); and
editions, and 59% were first-time attendees.
▬ 91% believe the programme has increased buyers’
This has had a significant impact on the management of interest in their products and 57% of artisans feel
their microenterprises and allowed them to: that foreigners visit communities to purchase their
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products.
▬ Start selling their products through social media;
The Original programme has also contributed to the
▬ Receive training and updates on modern techniques development of more sustainable activities through
and designs; practices that protect the environment:

▬ Exchange experiences with entrepreneurs from ▬ 85% of artisans have implemented recycling and
across the country; and material reuse;

▬ Come together to reflect on the challenges they ▬ 69% have reduced the environmental impact of their
face with large brands, aiming to create an equitable production processes; and
and mutually beneficial relationship.
▬ 53% have established their own solid waste
Moreover, as recognized by most artisans, Original treatment processes.
attracts tourists to their communities, promoting the
multicultural richness of Mexico. This helps foster visits These results demonstrate that Original also contributes
from both national and international tourists to their to achieving the Sustainable Development Goals (SDGs)
locations. Original is a true driver of socioeconomic of the 2030 Agenda, particularly Goal 1, 5, 8 and 11.131
development for artisans, their families, and their Original must be sustained and strengthened as a
communities. According to a survey 130
conducted by the socio-economic development programme for cultural
Secretariat of Economy of the Government of Mexico agents in the traditional-art sector. In its near future, the
with artisans who participated in the three editions of the programme should expand to other folk-art disciplines,
Original movement: enhance and systematize the entire chain of creation,
production, distribution and sale of traditional art by
▬ 98% have reported increased income (leading to involving all sectors. It should generate policies leading
better job opportunities, access to healthcare and to better access to high-quality raw materials, reinforced
education for household members); circular networks and feedback systems at various
levels, while strengthening financial support for artisans,
▬ 94% could meet their basic needs and those of their specifically those who use natural and environmentally
families; friendly materials.

129 Among those visitors, 43% were between the ages of 45 and 64; 36% were between 25 and 44; 16% were over 65; and 5% were between 15 and 24
years old.
130 More information available at: Gobierno de México – Secretaría de Economía y Secretaría de Cultura (2024), Informe de la encuesta de resultados
económicos del programa Original, available at: https://mipymes.economia.gob.mx [10-03-2025].
131 Goal 1: reducing poverty in all its forms; Goal 5: reducing gender disparities and empowering women artisans; Goal 8: promoting inclusive economic
growth; Goal 11: fostering activities that create sustainable, safe, and resilient communities.
More information available at: https://sdgs.un.org/goals [10-03-2025].
 64 Fashion and Cultural Tourism

Case study 11:

Fashion renaissance and innovation creating
opportunities for tourism – Saudi Arabia 132
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Saudi Arabia registered a 73% growth in international The Commission launched the Sustainability Index in
arrivals in the first seven months of 2024, compared 2023, surveying brands on their efforts in circularity, social
to the same period of 2019. 133
The investments in impact, leadership and governance. By setting a tracking
infrastructure – a landmark USD 800 million to transform process, the initiative establishes criteria for sustainable
the leisure and tourism sectors – are creating an and environmentally friendly fashion. The Commission
environment that attracts visitors and supports the raises awareness of the cultural heritage of the Kingdom
growth of the fashion. The Diriyah giga-project with its of Saudi Arabia through:
high-end shopping district is set to transform Riyadh into
a key shopping destination. ▬ The Riyadh Fashion Week;134

Launched by the Ministry of Culture in 2020, the Saudi ▬ The Saudi Cup,135 blending horse racing, sport,
Fashion Commission is transforming the Kingdom’s culture and fashion; and
fashion landscape by:
▬ The Fashion Futures platform,136 providing valuable
▬ Adopting a strategic focus on empowering data and insights into the fashion industry, attracting
local talent, promoting sustainable practices and researchers and investors.
preserving cultural heritage;
The Commission’s flagship ‘Saudi 100 Brands’137 is a
▬ Nurturing an inclusive fashion sector, integrated 360° Professional Development Programme, which
throughout the value chain and rooted in culture; mentors companies, such as:

▬ Providing essential support, infrastructure and ▬ Abadia & The Dropped Collection, showcasing
education targeting designers, manufacturers and craftsmanship through handweaving techniques
retailers; and at Galleries Lafayette, one of the main tourism
attractions in Paris, France;
▬ Promoting education and creativity thereby
ensuring that Saudi Arabia has the skilled workforce ▬ Chaldene, a sustainable loungewear brand that
necessary to compete on the global stage. uses pure fabrics, minimizing carbon footprint, as
well as coconut shells as buttons instead of plastic.
Chaldene was awarded Sustainable Brand of The
Year at the inaugural Saudi Fashion Awards 2024;

132 Case study prepared with inputs from the Ministry of Culture of the Kingdom of Saudi Arabia
133 World Tourism Organization (2024), World Tourism Barometer, volume 22, issue 3, UN Tourism, Madrid, DOI: https://doi.org/10.18111/wtobarometereng.
134 Consult for more information on the Riyadh Fashion Week: https://www.riyadhfashionweek.com/ [27-02-2025].
135 Consult for more information on the Saudi Cup: https://jcsa.sa/en/saudi-cup/ [20-03-2025].
136 Consult for more information on the Fashion Futures platform: https://www.fashionfutures.com/ [20-03-2025].
137 Saudi 100 Brands’ website available at: https://saudi100brands.com/ [06-04-2025].
 Fashion and Cultural Tourism 65

▬ Yasmina Q, which works with organizations that On a different front, Visit Saudi advertises immersive
provide job opportunities to those in need, while cultural tourism experiences including Saudi traditional
implementing the YWCA’s Women Empowerment and contemporary fashion and beauty trends, oud
and Training Programme, 138
which offers perfumes, festivals and artisan workshops for Taif
disadvantaged women vocational support; rosewater production,140 as well as souks.141 Visit Saudi
provides a platform for tourists and pilgrims to access
▬ Lomar, a homegrown brand reinventing the Saudi artisans’ retail stores and cooperatives, to purchase
thobe. 139
By using nanotechnology and water- woven handbags, palm fronds, hand-painted fabrics,
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resistant fabrics infused with subtle fragrances, traditional drawings, ceramics, handmade headbands,
carving out a market position appealing to both belts and daggers. Saudi Arabia’s fashion story is a
heritage-conscious locals and fashion-forward testament to the power of strategic planning and targeted
tourists. investment in the creative ecosystem. The growth trend
is positioning the country as a leading cultural tourism
destination, since Saudi Arabia inaugurated a special
user-friendly visa system for tourists in 2019.

Traditional Saudi Arabian attire. Copyright: © Hris86 | Dreamstime.com

138 YWCA website available at: https://www.worldywca.org/about-us/ [06-04-2025].

139 The traditional Saudi attire comprises the thobe (robe), qutra (head dress), iqal (head ribbon) and mishlah (traditional overcoat).
140 More information about Taif rosewater production available at: https://www.visitsaudi.com/en/taif/stories/al-taif-roses [06-04-2025].
141 Souk is an Arabic word that means a marketplace in northern Africa or the Middle East.
 66 Fashion and Cultural Tourism
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06
Recommendations
for public
administrations
and destinations
This report suggests recommendations targeting policymakers, product development,
marketing, promotion and communication professionals, working for or with national
tourism administrations and destination management organizations, creating win-win
synergies between fashion and tourism. Most recommendations apply to multi-stakeholder
models which reflect the complex value chains of the tourism and the fashion sectors.
While they do not provide a complete “how-to guide” on becoming an established fashion
destination,142 the guidelines highlight critical dimensions to be considered, as well as
hampering factors to be bridged, in order to reinforce and adequately communicate the
linkages among creative economy, fashion and cultural tourism. Within their respective
mandates, public tourism administrations, including national, state, regional, provincial or
municipal agencies, should address the following areas of action.

142 For which one might refer to works like:

Lewis, C.; Kerr, G. and Burgess, L. (2019), ‘Positioning a destination as fashionable: The destination
fashion conditioning framework’, Tourism Management, 72, pp. 209–219, DOI: https://doi.org/10.1016/j.
tourman.2018.12.004; or
Gravari-Barbas, M. and Sabatini, N. (eds., 2023), Fashion and Tourism: Parallel Stories, Emerald Publishing Limited,
Leeds, DOI: https://doi.org/10.1108/S1571-5043202426.

Haha's Oteza, Republic of Korea. Copyright: © SOON Ent

 Fashion and Cultural Tourism 67

Policy instruments, governance ▬ Create appealing, culturally sensitive and sustainable

and networks experiences, to engage with targeted audiences
while minimizing environmental impact.

1.   Baseline tools and mechanisms that ▬ Promote circular economy, raising awareness on
create an enabling environment for fashion sustainable production techniques to minimize
and tourism sectors to co-create products waste, reuse and recycle resources.
and experiences
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▬ Link fashion, as an integral part of the creative and 3.   Information-sharing, data acquisition
cultural industries, to design, media, cinema, sport, and management
music and gastronomy, when developing cultural
tourism policies. ▬ Avoid working in silos that do not enable meaningful
and constructive interactions between tourism and
▬ Support governance models promoting public- fashion key players.
private strategic alliances, optimal use of public
resources, venues and a sustainable management of ▬ Work together towards seamless and constant
fashion tourism. sharing of information to generate collaboration
opportunities, for the benefit of both sectors.
▬ Foster these platforms to put all creative and cultural
industries’ stakeholders together with tourism key ▬ Bridge sectorial administrative separations, at
players, to develop a comprehensive narrative on the different government or local administration levels, as
heritage and living culture of a destination. well as between public and private stakeholders.

▬ Create fashion tourism networks connecting rural

and urban areas, at national and international level, 4.   Creating an enabling environment for
to understand different realities and approaches to addressing taxation issues
manage fashion and tourism related experiences.
▬ Address VAT,144 where applicable, and other taxation
▬ Adopt frameworks to ensure and enforce intellectual issues so as to promote the purchase of locally
property protection for unique cultural practices and produced fashion by international tourists.
knowledge exclusive to indigenous peoples in close
coordination with competent institutions.143 ▬ Make sure to give all the necessary importance to
arts and crafts of textile nature, for their high symbolic
and purchasing appeal for travelers.
2.   Sustainability and circular economy
▬ Ensure that only original and authentic items –
▬ Raise awareness of the principles of economic, produced in the country/region – are promoted
social, cultural and environmental sustainability, as and sold as such, combating counterfeiting and
well as ethical business practices, when choosing breaching of intellectual property rights.
strategic partners, beneficiaries and audiences.

143 World Intellectual Property Organization and World Tourism Organization (2021), Boosting Tourism Development through Intellectual Property, WIPO,
Geneva, DOI: https://doi.org/10.18111/9789284422395.
144 VAT (value added tax) refers to a consumption tax on the value added at each stage of a product’s supply chain.
 68 Fashion and Cultural Tourism

Marketing strategies, branding ▬ Develop professional certification schemes with the

and commercialization sector’s buy in, as a basis for formalizing professional
profiles in fashion tourism, for inbound and outbound
markets.
5.   Reciprocal inclusion of fashion- and
destination-related information when ▬ Analyse the benefits gained from the
marketing a destination commercialization of fashion and tourism-related
products, owing to the market differentiation of
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▬ Analyse the socioeconomic values of the brand destinations and the contribution that tourism makes
“fashion tourism destination”, and the general public’s to reviving fashion- and culture-related practices.
self-identification with this promotion.

▬ Incorporate fashion in its broad meaning, as a reason 7.   Blending fashion heritage and tradition
to visit a destination. with innovation

▬ Collaborate with fashion brands and organizations ▬ Integrate contemporary creative industries with
to link themselves to specific destinations, inviting heritage and traditions of fashion to create innovative
their audiences to visit their roots and experience experiences deeply rooted in a destination’s unique
the creative cultural context in which they have been history and cultural identity.
established, grown and still operate.
▬ Develop storytelling and narratives related to the
▬ Communicate across all different channels and fashion heritage of destinations, so visitors are able
collaborate with main fashion ecosystem players, to link it with current creative and cultural practices.
family businesses and local communities.
▬ Give special attention to contemporary designs and
their relationship with traditions and cultural heritage
6.   Direct support for marketing and sales dimensions, so they confer a sense of place and
activities cultural identity to the destinations within which they
are created.
▬ Ensure that fashion and tourism professionals
have the necessary business skills and access to ▬ Make sure the destination’s wide range of fashion
both physical and virtual marketplaces, creating a dimensions is clearly incorporated in the cultural
better match between supply and demand for both tourism branding strategy, as expressed in different
industries. ways across centuries.

▬ Apply data and analytical findings to improve the ▬ Connect fashion with other cultural creative
allocation and use of resources and to better market dimensions and connect cultural creative dimensions
the activities of all key players. with their fashion expressions or counterparts.

▬ Develop expertise in distribution and promotion, as ▬ Craft captivating storytelling while addressing
digital skills are essential for creators, institutions and different types of audiences.
businesses to succeed in the online markets.

▬ Design special financial/marketing programmes

addressed to MSME and community-led
organizations and cooperatives.
 Fashion and Cultural Tourism 69

Promotion and communication Value chain, cultural creators

and communities

8.   Partnerships with fashion players to

showcase attractions as fashion destinations 9.   Integration of fashion products with
production processes and creative industry
▬ Establish partnerships and alliances with the fashion producers
sector, cooperatives and community organizations to
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showcase a destination. ▬ Leverage the opportunities of fashion to engage

in experiential and creative tourism, provided
▬ Pay attention to micro-, small- and medium-sized that products are adequately linked with the
firms, as informal undertakings promoted by some corresponding production processes and with the
communities or indigenous peoples may opt for communities and individual creators behind them.
traditional development models.
▬ Take into account the entire value chain and cultural
▬ Organize fashion events and contests, display fashion producers, especially in the case of indigenous
collections and exhibitions in museums, other venues communities or creators involved in informal
or tourist attractions. economy models that need to reach the market.

▬ Create experiential tourism products and offerings ▬ Ensure that visitors can appreciate the value of
with fashion producers and cultural creators related the work, the time investment, skills, talent and
to different fashion expressions. sometimes ancestral knowledge, passed from
generation to generation, that make such production
▬ Collaborate with fashion influencers to increase the possible and unique.
visibility and appeal of the destination, attracting a
broader national and international audience. ▬ Encourage a deeper connection and more engaging
communication between visitors and locals offering
▬ Host photo shootings and create an enabling enriching encounters between the visitors, creators
environment in low- and mid-tourism season, as and vendors, in different spaces and venues.
there are less distractions and fewer crowded public
spaces to operate. ▬ Promote job opportunities for women and youth,
as new generations might consider working
in the tourism and fashion ecosystems, which
require further consolidation in terms of long-term
employment prospects.
 70 Fashion and Cultural Tourism

Innovation, technologies and Research, education and training

digital media

11.   Reciprocal inclusion of fashion- and

10.   Exploring affordances and tourism-related notions in tourism education
collaboration opportunities offered by digital and research
media
▬ Identify key linkages and possible interactions
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▬ Harness digital technologies in conveying between tourism and fashion in education and
personalized marketing messages, offerings and vocational training for professionals, researchers and
experiences linking tourism and fashion. institutions.

▬ Consolidate the leading position of the tourism and ▬ Research how to raise awareness about different
fashion sectors in adopting new media technologies, fashion expressions and their connection with
generative artificial intelligence and mixed realities. the traditional and modern culture, as well as
destinations’ identity and branding.
▬ Untap the augmented reality’s potential in providing
additional fashion-related information layers for ▬ Undertake academic research and design, run and
tourists, through AR platforms. evaluate win-win projects with tourism and fashion
stakeholders.
▬ Connect storytelling with augmented reality
technologies, to provide an additional, relevant ▬ Ensure that educational institutions and programmes,
“fashion-related information layer” to an item at all levels, consider integrating the topic of fashion
experienced by the visitors. tourism and exposure to key projects and institutions,
within their respective teaching and internship
▬ Use metaverse to promote destinations, attractions curricula.
and fashion, to provide visitors with virtual destination
previews and immersive and more accessible cultural ▬ Design training schemes to upskill cultural and
experiences. fashion creators so they would create market-ready
experiences, that can be successfully promoted by
destinations.

▬ Promote education and training in using social media

and other marketing techniques based on ever-
evolving digital technologies, to promote fashion
tourism destinations.
 Fashion and Cultural Tourism 71

Responsible tourism

12.   Development of culturally sensitive

strategies

▬ Elaborate recommendations in dialogue with

different stakeholders dealing with visitors to ensure
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culture-sensitive messaging, helping to avoid cultural

misunderstandings or local community’s perceptions
of non-civic behaviour.

▬ Promote positive rules and guidance on clothing

tourists by host destinations, instead of conveying
only messaging on undesired or sanctionable
conduct.

▬ Provide thorough explanations of “dos” and “don’ts”

to avoid subjective interpretations by visitors in terms
of local clothing rules or traditions.

▬ Set up incentives, such as free admission fees, for

visitors embracing the local attire, in case this is not
frowned upon by locals.

▬ Explain why emulating a local attire display is not

advisable, in case some garments or items in certain
cultures are considered sacred and imply a myriad of
spiritual connotations.
 https://www.e-unwto.org/doi/book/10.18111/9789284426287 - Saturday, May 03, 2025 3:58:07 AM - IP Address:94.73.37.52

72
Fashion and Cultural Tourism

Annexes

Pakerson men’s shoes, Florence, Itlay. Copyright: © Pakerson

 Fashion and Cultural Tourism 73

Questionnaire used for the

preparation of this publication
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Creative Economy, Fashion and Cultural Tourism

– Key Linkages and Recommendations

Questionnaire

UN Tourism is researching, in collaboration with USI – In order to collect relevant practices, we are contacting
Università della Svizzera italiana (Lugano, Switzerland) your organization, asking to share your valuable
the overlapping area between creative economy, fashion experience.
and cultural tourism.
Please answer the questions below so UN Tourism and
The two partners will publish a report which will provide USI Review Committee consider including the case run by
an overview on the topic, several case studies and good your organization or company in this report.
practices, as well as policy recommendations.
To kick-off the process, virtual interviews could be
The report will explore the initiatives aimed at set up to obtain in-depth information and further
communicating local fashion heritage and production clarifications.
to tourists in two directions: from tourism to fashion (i.e.,
initiatives run by tourism entities) as well as from fashion
to tourism (i.e., initiatives run by fashion entities).

Examples might be the inclusion of fashion heritage

among the reasons to visit a place in its marketing
campaigns, the offer of dedicated tours or experiences
(e.g., local markets), the creation of dedicated museums
and local community interpretative centers (e.g.,
traditional fashion-related arts) exhibitions or events,
to the point of “fashion destinations” specialized in this
sector.
 74 Fashion and Cultural Tourism

Please fill in basic information: 2. Which main stakeholders have been involved in
the project?
Name of the organization: (multiple choice)

Contact person: DMOs and public administrations, at national or local

level
E-mail address:
Companies
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Country:
Designers

How do you describe your organization? Tour operators and travel agencies
Please choose one option:
Association or social enterprise
Governmental entity
(e.g., Ministry of Tourism and Culture, Chamber of Universities or educational institutions
Commerce, etc.)
Local communities
Destination management organization (DMO) or
similar public administration entity in charge of Tourists
marketing
Other:
University or educational institution

Private company (in tourism/fashion) 3. Who are the main partners and which are their
respective roles?
Non-governmental organizations (200 words max)

Association, social enterprise or community involved

in activities at the crossroad between cultural 4. What is the main focus of your activities and what
tourism and fashion issues does it address?
(multiple choice)
Other:
Tourism and fashion practices as means of
intercultural understanding and dialogue
1. Please explain how and why fashion is relevant in
attracting tourists. Experiential or creative tourism
Which are your activities in this context? (e.g., through relevant courses or activities aimed at
Could you provide some data about number of tourists)
tourists involved, and/or activities and/or events?
(250 words max) Local community’s empowerment through
entrepreneurship, and the creation of experiences

Policies and strategies

Textile heritage
(e.g., through exhibitions, museums, etc.)
 Fashion and Cultural Tourism 75

Traditional craftmanship practices Additional information

Other: Please provide relevant links to the good practice

initiative, i.e., website, social media links, press articles,
YouTube channel, etc.) and attach relevant images in
5. How does your case illustrate the linkages HIGH-RES to the e-mail you return.
between creative economy, fashion and cultural
tourism?
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Which communities/stakeholder groups are involved? Consent

How does it contribute to the sustainable
development of tourism, in practice? The submitted initiatives should have the free,
(250 words max) prior and informed consent from the community,
organization, or, if applicable, individuals concerned.
Evidence of such consent is welcomed by submitting
6. Which are the tangible impacts, the lessons additional documents (such as photos, etc.) of the work
learned and the most significant challenges you can of the community/organization/individuals to […], with
share? cc to […].
(250 words max)
Agree: Yes/No

7. What kind of external support could facilitate

the implementation, or maximize the benefits of Please check the box if you agree to share the
such links, i.e., access to capacity building tools, information and grant permission for the material’s
creation of networks between different stakeholders potential publishing and dissemination through UNWTO’s
and communities, project visibility, support by communication channels, including attachments and
governmental institutions etc.? multimedia materials linked and/or sent by email.
(100 words max).
Agree: Yes/No

Thank you for your submission!

For further information or questions, please contact […],

with cc to […].
 76 Fashion and Cultural Tourism

Acronyms and abbreviations

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ACME Asociación Creadores de Moda de España NTDA Nigerian Tourism Development Authority

AEHM Association for Hotels in Madrid OECD Organisation for Economic Co-operation and
Development
CAVENTER Culture, Art, Community Development, and
Ecotourism Center OPC Professional Congress Organization

CCI cultural and creative industries SDGs Sustainable Development Goals

CEIM Madrid Confederation of Employers and TIP Turismo Industriale Prato

Industries
TPT Toscana Promozione Turistica
ECSR UN Tourism Department for Ethics, Culture
and Social Responsibility TTB Tanzania Tourist Board

ETC European Travel Commission UCCN UNESCO Creative Cities Network

FETAVE Travel Agents Federation of Madrid USI Università della Svizzera italiana

GDP gross domestic product UNESCO United Nations Educational, Scientific and
Cultural Organization
IP intellectual property
UN Tourism World Tourism Organization
JFW Jakarta Fashion Week
YWCA Young Women Christian Association
KTO Korea Tourism Organization
 Fashion and Cultural Tourism 77

References and bibliography

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https://www.e-unwto.org/doi/book/10.18111/9789284426287 - Saturday, May 03, 2025 3:58:07 AM - IP Address:94.73.37.52

Key Insights

Fashion

World Tourism Organization (UN Tourism)

and Cultural
Tourism

Connecting

Fashion and Cultural Tourism

The World Tourism Organization (UN Tourism), a United
Nations specialized agency, is the leading international
organization with the decisive and central role in
promoting the development of responsible, sustainable
Creators,
Businesses and
and universally accessible tourism. It serves as a
global forum for tourism policy issues and a practical
source of tourism know-how. Its membership includes
160 countries, 6 territories, 2 permanent observers and
over 500 Affiliate Members.

www.unwto.org
Connecting Creators, Businesses and Destinations
Destinations

Università della Svizzera italiana (USI) is a young and

vibrant Swiss public university, founded in 1996. Each
day, around 4300 students and 1400 professors and
researchers from 110+ countries come together across
its four campuses. It conducts cutting-edge research
and offers specialized Master’s programmes in both
Fashion and Tourism. USI is also home to a UNESCO
Chair in ICT to develop and promote sustainable tourism
in World Heritage Sites.

www.usi.ch