Abstract

Baloch embroidery, an identity symbol of women in southeastern Iran, represents a fusion of aesthetic beauty, intangible heritage, and local cultural capacities. In recent decades, it has faced challenges such as the disconnection between traditional production and contemporary markets, along with limited long-term policy support for promotion and development. This study offers a theoretical–conceptual interpretation of how the position of Baloch embroidery in cultural tourism may be enhanced by integrating McKercher–du Cros’s Cultural Tourism Matrix with Phillips’ model. It asks: from a theoretical perspective, what implications does this integration have for strengthening the position of Baloch embroidery and its potential to appeal to cultural tourists? The research adopts a descriptive–analytical design with a theoretical–conceptual orientation. Data were collected through documentary sources, including scholarly articles, books, and institutional reports on cultural tourism and intangible heritage (e.g., UNWTO and UNESCO documents). Accordingly, the study does not involve empirical testing and does not claim statistical generalization. The analysis suggests four interrelated dimensions:(1) multi-actor participation may facilitate more coordinated decision-making and action by linking the capacities of diverse stakeholders;(2) multi-level governance may enhance policy alignment across levels and support continuity between local production and broader supply and presentation circuits;(3) sustainability-oriented development may frame diversification and supply-chain optimization as enabling conditions for more viable value distribution; and(4) experience-based “living cultural landscapes” may support a shift from static display to dynamic practice through cultural storytelling, participatory design, digital communication, and local participation.