Dan Wang on why China’s fashion future is beyond factories

Dan Wang (王丹) studied journalism in China and business in France before returning home as an entrepreneur working in cross-cultural exchange. She now develops and operates urban public spaces and creative industry projects in Shenzhen, a city better known for what it manufactures than what it designs. Today, she is chairman of the Futian district-level state-owned enterprise Fumei Space, which manages multi-functional urban public spaces, industrial planning, and runs tech-fashion innovation events in Shenzhen. Wang also holds a senior position in the Bay Area Sustainable Fashion Alliance (BASFA), which Fumei Space helped found in 2024. She founded FashTech, the brand under which Futian runs its fashion-technology programming. Its first Global “AI + Fashion” Innovation Application Competition ran alongside the 2026 FashTech event in Futian on July 16 and 17, drawing nearly 1,000 teams from more than 10 countries and over 2,500 submitted projects. Her focus over the past few years has been how a rapidly growing city can combine innovation with culture, creativity and quality of life — and how Shenzhen can develop an identity that is as human and culturally distinctive as it is technologically ambitious. JD: What do you think are key characteristics of Chinese cultural consumers? DW: The characteristics of Chinese cultural consumers, particularly Gen Zers, are becoming increasingly distinct. Driven by a heightened cultural awareness and elevated aesthetic standards, rather than chasing superficial glamor, they are willing to pay a premium for products that resonate with their personal aesthetics and offer profound emotional and intellectual value. Navigating the space between tradition and innovation, they respect their cultural roots while enthusiastically embracing contemporary expressions. Furthermore, they are accustomed to multi-threaded consumption. This is especially evident in efficiency-driven cities like Shenzhen, where podcasts fill commutes and weekends are packed with lectures, exhibitions, and theatrical performances. Such a lifestyle imposes higher demands on the density and flexibility of cultural offerings. Meanwhile, they crave authenticity and empathy, expecting cultural content to forge a genuine connection with their daily lives. Navigating between international perspectives and local identity, they reinterpret the “China story,” and carve out their own cultural place in the currents of global trends. Jing Daily: Tell us about why the FashTech awards are so important to Shenzhen? Dan Wang: Shenzhen is often called the “City of Technology – China’s Silicon Valley,” but those who truly live here know that the city’s greater charm lies in its youth, its openness, and its enduring curiosity for all things new. In my view, fashion is not just about the runway; it is also a way of life and a form of cultural expression. Technology and fashion may seem to come from different fields, but they both point toward the same goal: the exploration of a better life. The FashTech event is our way of bringing technology and fashion into real connection, turning innovation from concept into everyday reality – something people can feel and experience in their daily lives. As a district-level state-owned enterprise, we have always believed that the ultimate goal of industrial upgrading is not simply pursuing growth in output value, but continually enhancing the urban environment and the quality of people’s lives. We hope to make Shenzhen a place that not only reaches the heights of technological innovation, but also radiates the human warmth that fashion and culture bring to everyday life. JD: What was BASFA’s role in the awards and ceremony? DW: The Bay Area Sustainable Alliance is guided by the Futian District Culture, Media, Tourism and Sport Bureau and operated by Fumei Space. It is committed to becoming a new engine for high-quality development in the fashion industry and a new platform for green growth. As the initiator of this event, we aspire to serve as a “connector” across industries – not only building a stage to showcase innovative achievements in technology and fashion, but also integrating sustainable development and social responsibility into industry exchanges. To this end, we put public welfare and social value into the event, hoping that it will be more than just an industry gathering — rather, a rallying point for consensus on sustainable development. Looking ahead, we aim to continue fostering an open, pragmatic, and symbiotic ecosystem for industrial collaboration, attracting more entrepreneurs who share our commitment to sustainability, and jointly steering fashion technology toward a future that is more humane and more responsible. JD: What were your event highlights? DW: The most memorable moment was seeing an idea born from nothing take root and resonate strongly with the industry. As the founder of the FashTech brand, my own journey has taken me from studying journalism in China as an undergraduate, to earning a master’s degree in business in France, and then returning to China as an entrepreneur in cross-cultural exchange, spanning film, design, fashion, and culture. Today, as Chairman of Fumei Space, and as Director and Creative Director of BASFA, I have led my team from curating the aesthetic experience of urban public spaces to gradually focus on the operation of fashion, technology, and cultural industries. Along the way, I have constantly been thinking about how different industries can forge new connections with one another — and FashTech was born precisely out of that reflection. It distills the essence of both fashion and technology: fashion as the humanistic foundation, technology as the driving engine. It pursues the innovative realization of commercial value while upholding a steadfast commitment to social responsibility JD: Do you think AI fashion is the future? DW: The world is changing fast. Technology is undoubtedly a powerful force shaping the future — but where that future leads, no one can truly predict. The value of AI lies in its capacity to make sense of data that was previously hard to capture and utilize, thereby providing a stronger evidence base for design decisions. Yet fashion, at its core, is emotional — the texture of a fabric, the resonance of a color, and the cultural expression behind a design — these are values endowed by human creativity and aesthetic sensibility, and remain beyond AI’s reach for now. Moving forward, technology and fashion are not rivals; they are advancing together, in symbiosis. JD: What are you most excited about when it comes to AI fashion? DW: What excites us most is the opportunity to use this competition as a bridge and Shenzhen as a window for deep dialogue with top-tier professionals from around the world. We believe that cultural and industrial development thrives on exchange and cross-pollination. AI can further break down the boundaries between industries, enabling more talented individuals, enterprises, and creative ideas to achieve cross-sector collaboration. Looking ahead, we hope to welcome more entrepreneurs to Shenzhen, to see for themselves the explorations we are undertaking in the fashion-tech field, and jointly drive the industry toward a more open and globally influential stage of development. JD: How do you think people around the world currently view China as a fashion industry? DW: Over the years, the overseas perception of China’s fashion industry has undergone a remarkable transformation. In the past, when people thought of China, the first thing that came to mind was manufacturing power; today, more and more attention is being paid to China’s original design, innovative technology, and cultural expression. As one of China’s key cities for technological innovation, Shenzhen has also gradually developed a comprehensive fashion industry foundation and a vibrant design ecosystem. Last year, through the “26SS Paris Fashion Week, Shenzhen Futian Fashion Day” event, we led a group of Shenzhen fashion brands to make their collective debut at Paris Fashion Week, showing the world the design power of Shenzhen. We hope that Chinese fashion brands will not only serve the domestic market but also continue to expand globally, allowing more consumers around the world to experience Chinese design, Chinese aesthetics, and Chinese quality JD: How have you seen Shenzhen’s culture scene develop since you started the culture festival? DW: Shenzhen has always been defined by its openness and inclusiveness. As the economy continues to flourish, there is a growing public demand for spiritual and cultural fulfillment, prompting a profound evolution in the city’s cultural ecosystem. Rather than being a mere accumulation of historical heritage, it functions more like a continuously iterating operating system. Shenzhen goes beyond merely importing cultural events; it is progressively cultivating a self-sustaining cultural ecosystem. Both newcomers and long-term residents are collaboratively shaping the city’s unique cultural narrative. Furthermore, technology is deeply integrated into everyday life. From drone light shows to AI-empowered fashion, innovation permeates every aspect of the city. This year, the successive opening of numerous new museums and art galleries reflects a concerted effort to cultivate cultural content that is profound, human-centric, and irreplaceable. This initiative has not only revitalized the city’s cultural landscape but also attracted a growing influx of talent. JD: What is unique about Shenzhen when it comes to culture? DW: The uniqueness of Shenzhen’s culture lies in its “rootlessness as roots” — precisely because it carries no singular tradition, it has gained an unprecedented degree of cultural freedom. Here, the protagonists are not historical relics, but rather migrants from diverse backgrounds. They bring their distinct regional cultures, which intersect, collide, and reconfigure in this city, ultimately forging a fluid and decentralized cultural ecosystem. Concurrently, Shenzhen has deeply embedded its technological DNA into its cultural expressions. From drone swarms narrating the city’s stories to AI intervening in artistic creation and fashion design, technology transcends its role as a mere instrument; it has become the cultural language itself. JD: What are your plans for 2026? DW: We remain committed to strengthening the FashTech brand IP. Leveraging platforms such as international fashion weeks, the Shenzhen AI + Fashion Innovation Application Competition, and the Topskyline [show and concert], we will propel competition outcomes and China fashion brands to the global stage. Our goal is to drive meaningful cultural exchange and industry-wide dialogue, while attracting global entrepreneurs and innovators to Futian, Shenzhen — transforming it into a vibrant nexus where fashion and technology truly converge. Jing Daily presents C-Suite Visionaries — an exclusive interview series spotlighting the most influential executives at the helm of today’s leading brands in art, fashion, commerce, and culture. Get inside the minds of the decision-makers driving growth, innovation, and cultural relevance at the highest levels.

Dan Wang on why China’s fashion future is beyond factories

How Bottega Veneta weaved China’s forever it bag

Upgrade to Pro

Sectors

Insights

Company

Dan Wang on why China’s fashion future is beyond factories

How Bottega Veneta weaved China’s forever it bag