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MAIN TRENDS IN THE DEVELOPMENT OF THE FASHION
INDUSTRY IN UZBEKISTAN
Abdullaeva Fatima Sagdullaevna
National institute Fine arts and Design after named Kamoliddin Behzod
Lecturer at the Department of “Fashion design”
Bakhtiyorova Farzona Dilshod kizi
1st year student of the National Institute of Arts and Design
named after Kamaliddin Begzod, Department of “Fashion design”
https://doi.org/10.5281/zenodo.14776524
an analysis of trends in the development of the fashion industry in Uzbekistan in
the 21st century. Also included in the coverage of the research topic were the
author’s analytical opinions on the work of designers who worked in our country
Аннотация:
В статье описан анализ тенденции развития индустрии
моды в Узбекистане в XXI веке. Также в освещение темы исследования
были включены аналитические мнения автора о творчестве дизаи неров,
работавших в нашеи стране в годы независимости.
Ключевые слова:
дизаи н одежды, коллекции костюмов, принципы
дизаи на и моделирования, индустрия моды, маркетинговые стратегии,
индустрия моды.
The field of fashion design is currently among the relevant areas that
operate in collaboration with the global development factors of art, industry,
and economy within the framework of creative, practical, and innovative
processes. This aspect ensures that the conceptual principles necessary for the
design and modeling processes of costume collections encompass, above all, the
brand of national identity, as well as modern scientific achievements, innovative
technologies, and the innovations being introduced into the fashion industry.
In world art studies, the interaction between the conceptual foundations of
fashion and modern costume trends, particularly in the realms of ethnic and
retro clothing, has become a significant area of research. In particular, the
effective strategies of fashion marketing are being explored as pressing issues in
the practice of clothing design in foreign countries within this direction.
In Uzbekistan's fashion scene, a process has begun to harmonize the
creation of commercial collections that reflect the integration of advanced
mechanisms of design with marketing strategies in the fashion industry. "Today,
we have every reason to say that a completely new political, socio-economic,
scientific-educational, and cultural environment has emerged in our country in a
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historically short period" [1.]. At the same time, there is a growing necessity to
enhance the activities of local fashion brands by modernizing the scientific
aspects of the fashion industry and implementing effective systems for
integrating global experiences into the educational and production processes
within the sector.
The "fashion industry" is studied within the framework of various layers of
product manufacturing. The research process should primarily begin by defining
it as "a network for the production of fashion objects that possess social
characteristics." This is because the fashion industry is a service sector that
deals with the design, production, promotion, and sale of fashion-specific
products [2.]. According to this definition, the term "fashion industry" clearly
reflects the uniqueness of this complex phenomenon, encompassing the spheres
of society—art, industry, and economy. In this sense, it seems reasonable to
connect the history of the "fashion industry" with the history of industrial-scale
production processes of fashion objects.
Global fashion, including in our country, transitioned from a small business
sector producing fashion clothing and accessories from the 1890s to the 1960s
into a systematic mass production framework—resulting in an industry that
encompasses product design, manufacturing, sales, and usage, along with
related sectors. It is noteworthy that a significant aspect of these processes is the
emergence of fashion economics as "haute couture" and "prêt-à-porter"
products [3.].
Importantly, the practical processes and achievements that shaped the term
"design" during the Soviet era in Uzbekistan can be viewed through the lens of
"technical aesthetics." These developments are the result of skilled constructors,
designers of clothing and accessories, and technologists. Since 1999, the
establishment of educational processes in Uzbekistan for the specialty of
"Fashion design" has laid the foundation for the development of the "Design"
field based on its unique characteristics, as previously mentioned.
The principles of "design" in the fashion industry of Uzbekistan can be said
to have been established in the early years of our independence without
exaggeration. Specifically, it can be stated that during this period, our country
opened up wide opportunities for the development of the fashion sector.
During these years, Uzbekistan was able to pursue its independent policy in
all areas, and the processes of establishing political, economic, and cultural
relations with various nations of the world were in line with the state policy
aimed at restoring our national heritage, which had nearly been forgotten by our
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people. Naturally, the achievements mentioned above are connected to the
reformation of our independent fashion industry in accordance with modern
demands, and they highlight the creation of projects based on Uzbek national
costume traditions as a primary trend in the creativity of young designers,
characterized by modern styles and stylistic directions.
Additionally, it is important to note that the development of the clothing
design sector in Uzbekistan in the 21st century has distinctive phases of
formation that differ from one another. Specifically:
The first phase from 2000 to 2010:
during the late 20th century and early
21st century, attention was given to design fields in Uzbekistan. Since 1999, the
establishment of education in the field of "Fashion Design" in higher and
specialized secondary education systems has laid the groundwork for a new era
in clothing modeling in our country.
From 1999 to 2005, significant achievements began to be made in the field
of clothing design in Uzbekistan. An important event that influenced these
processes was the establishment of educational programs in the direction of
"Clothing Design" under the leadership of Professor Kh.K. Kamilova at the
Kamoliddin Behzod National Institute of Art and Design, based on the
Uzbekistan Academy of Arts. It is worth noting that graduates of this institute
have become skilled creators like Z. Sultan, D. Qosimova, S. Amir, A. Agzamova,
and K. Rustamova, who play a significant role in the development of
Uzbekistan's fashion industry and have gained recognition both nationally and
internationally.
When analyzing practical processes in Uzbekistan's fashion during the
2000s, it is important to highlight the significance of the "Asian Symbol - 2000"
International Clothing Festival held in Tashkent during this period and its
considerable impact on these developments.
At the festival, many specialists from Uzbekistan and Kazakhstan
participated, including A. Varkova, a designer from the "Libos" aesthetic center
of the Uzbekistan Academy of Arts; N. Petrosova, a costume designer from the
"Zumrad" Cultural Center of the Uzbekistan Businesswomen's Association; L.
Boboeva, a designer from the "Navro'z" design studio in Tashkent; O. Dyatchina,
L. Polvonova, and M. Obidjonova, who presented collections based on elements
of ethnic clothing. Additionally, M. Qo'zieva, A. Sirbaeva from the "Agama"
clothing center in Zarafshan, I. Saytxo'jinova from the "Agama - 104" knitwear
enterprise in Zarafshan, and designers A. Altibasarova and Sh. Berkelieva from
the "Andres" fashion salon in Almaty actively participated with their clothing
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collections. Notably, among the participants of this fashion festival were Lola
Sayfi, Dina Sayfi, and Xilola Tursunnazarova, who showcased unique collections
that harmoniously blended national traditions with contemporary trends.
During these years, many young and skilled designers have presented their
clothing collections at various fashion shows organized by the "Asian Symbol"
Designers Association, including the "National Clothing Festival," "Boysun
Bahori," "Khan-Atlas," and "Bolajonlar va Shirintoylar."
The practical processes conducted in the fashion industry of our country
allowed for an analysis of achievements and shortcomings in this field during
the first-ever "Fashion Week" held in 2005. Notably, renowned designers and
leaders of famous jewelry and modern fashion houses from Austria, Germany,
India, Italy, China, Latvia, Russia, France, Switzerland, Japan, and many other
countries attended the fashion weeks held during these years. Prominent
designers such as V. Yudashkin, Yu. Zaysev, A. Akhmadulina, Yu. Dalakyan, I.
Chapurin, N. Surikabe, and S. Varma from the global fashion industry
participated with collections from well-known fashion houses like "Max Mara,"
"Balenciaga," "Armani," "SiSi Wasabi," "Wolford," "DSQUARED2," "Revillon," and
"Guy Laroche."
The second phase is the 2010s.
In the 2010s, a generation of skilled
designers emerged who presented their personal clothing collections for each
new season with their own style and direction. Designers such as S. Amir, D.
Tomilin, D. Otaboev, M. Umarova, D. Qosimova, Z. Sultan, M. Asqarova, M.
Maxmudova, A. Drobishev, Klara and Rukhshona Umarova with their
KlaraRukha brand, E. Milberger, F. Khaydarova, Ya. Vakhitova, and Z. Karimova
participated in clothing shows not only in our country but also on a global scale
during these years.
During this period, young designers showcased their creative clothing
collections based on various styles and techniques at fashion shows organized
by the "Uslublar Uyi" (House of Styles).
Munisa Askarova is among the young and promising designers in our
country's fashion industry during this period, showcasing collections of "pret-a-
porte" garments made from natural fabrics and in subdued colors that have
captured the attention of enthusiasts. The distinctive feature of M. Askarova's
clothing collections lies in their unified conceptual idea, which integrates
garments, accessories, and headwear.
Artem Drobishev has been recognized as a "successful fashion brand" in our
country during these years. The knowledge he gained at an art school laid the
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foundation for his unique creative signature during his student years at the
"Costume Design" department of the K. Behzod National Institute of Fine Arts
and Design. Throughout these years, A. Drobishev regularly participated in
fashion shows organized by the "House of Styles". Notably, the designer is
known not only as a clothing designer but also as a fashion stylist who
professionally executes makeup and hairstyles that complement the outfits. The
collections he prepared for fashion shows reflect a blend of eclecticism,
historicism, and retro styles. Importantly, the wide assortment of fabrics chosen
for these garments and the complexity and diversity of the constructive cuts can
be recognized as the DNA of A. Drobishev's collections.
It is worth noting that during these years, young and skilled designers from
various regions of our country were involved in clothing shows held in
Tashkent. For instance, designer Mukharram Maxmudova, who operated in
Bukhara region, participated in a show organized by the "House of Styles" for
the spring-summer season in 2012 with her collection made from atlas fabric
featuring ikat and beqasam patterns.
In the 2010s, skilled designer Elena Milberger's clothing collections held a
unique place in Uzbekistan's fashion scene. The DNA of this specialist's creativity
is based on the batik technique. In E. Milberger's interpretation, the batik
technique reflects the ornamental design of Uzbek national textiles, the
composition of Islamic patterns found in national architectural monuments, and
delicate color samples created from ikat fabrics. Despite the fact that the fabrics
created using this technique showcase ethnic elements, the overall shape
expressiveness of the garments distinctly reflects modern fashion styles. These
aspects allow us to describe the designer as an experienced specialist with the
ability to create individual fabric samples, form unusual and complex
constructive patterns, apply modern fashion styles in clothing collections, and
ultimately shape a cohesive collection based on the aforementioned processes.
Although the “Klara&Rukha” brand founded by sisters Klara and
Rukhshona Umarova emerged in the previous decade of our century, their
activities have continued successfully to this day. In the early stages of this
fashion brand, the Umarova sisters created clothing collections that were devoid
of elements from national attire and reflected modern trends. Later, elements of
the clothing from their birthplace, Samarkand, began to take a central role in the
DNA of the brand's creativity. Today, it can be observed that the brand's
garments are not only complete ensembles based on national traditions but also
consist of dresses in classic and romantic styles characteristic of modern trends.
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Skilled designer Yasmin Voxitova was also one of the notable specialists at
“House of Styles” during the 2010s. In Y. Voxitova's work, one can observe
evening dresses with mini and maxi lengths featuring complex decorative
embellishments. Notably, despite the technological complexity involved in
processing the excelsior fabric used in these dresses, they exhibit a high level of
technological refinement. This aspect allows us to emphasize that the designer is
not only an experienced garment designer but also a skilled technologist.
During these years, designers presented collections at fashion shows
regularly organized by the “Asian Symbol” designers' association, including
events such as the “National Clothing Festival,” “Boysun Spring,” “Atlas Festival,”
“Children and Sweeties,” as well as the “House of Styles” events like “House of
Styles Fashion Show” and “Underground.”
Third Phase: 2020s.
During the 2020s, designers in our country began to
place significant emphasis on creating collections under their own brands and
organizing personal clothing showcases. Brands such as “Lali,” “Anor,” “Gigu,”
“Moel Bosh,” “Z.Sulton,” “TaisI,” “Lisa Manner,” “Kanishka,” “Black Quail,” and
“N.Grigoryan” have been recognized as leading brands in the country during this
period. Notably, their activities to expand their audience through the extensive
use of modern information technologies have been highly effective. This process
includes establishing personal showrooms with unique brand identities adorned
in various styles, organizing personal fashion shows, and conducting
promotional activities through global networks.
One significant event in Uzbekistan's fashion in 2020 was the organization
of the exhibition titled “Fashion in Uzbekistan: Yesterday and Today.” This
exhibition showcased photo materials and collections of garments that reflect
the continuity of processes in the history of Uzbek fashion to our present day.
Remarkably, garment samples were also presented to the audience in the form
of exhibitions. The exhibition was divided into two blocks: the first dedicated to
the history from 1960 to 2000, featuring fashion magazines, sketches, and black-
and-white photographs. The second block displayed modern designers' costume
collections on mannequins, featuring works from designers such as S.Amir,
T.Chursinova, “Lali” fashion House, “Moel Bosh” brand (Zukhra Inat),
M.Umarova, and X.Sher, created based on various shapes, styles, and techniques.
The expansion of achievements in Uzbekistan's fashion during the 2020s is
linked to the establishment of fashion courses and universities within the non-
state education system. Specifically, this includes the establishment of the
“Fashion Product and Promotion” faculty at the Singapore Institute of
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Management Development and the “Clothing Design” department at the
Chemical University in Tashkent.
Fourth Phase: From 2020 to Present
The years 2020-2022 are also considered significant for our country's
fashion due to the emergence of several young skilled designers. Notable names
include Aygul Agzamova, Istoraxon, and Elmira Batirova.
In recent years, it is worth noting that targeted consumer audiences have
formed in Uzbek fashion, with seasonal and trend-based clothing collections and
effective marketing systems being successfully established by brands. Local
fashion brands such as “Chiroyli,” “Bjeans,” “Pink Island,” and several others
have carved out their niche in a market saturated with foreign products.
Starting from 2023, Fashion Weeks have been organized in Tashkent under
the name “Visa Fashion Week Tashkent” for spring and autumn seasons. Fashion
houses such as “Nigora Hashimova,” “Saadi,” “Dee Usmanova,” “Dildora
Kasimova,” “Lali,” “Zulfiya Sulton,” “Mursak,” “Dilnoz,” “Zardozi,” “Zhanna
Ahmatova,” and “Koma” have presented clothing collections that harmoniously
blend national traditions with modern trends to fashion enthusiasts.
For over 15 years, fashion weeks have been held in our country, and while
these events have influenced the popularization of clothing design, it is difficult
to say that they have significantly impacted the practical processes aimed at
industrial-scale garment production within the framework of our country's
fashion industry, particularly in the context of what is currently referred to as
the "mass market."
It is worth noting that during the analysis of the fashion industry levels in
the CIS countries, the following conclusions were drawn regarding their
activities in costume modeling: countries such as Latvia, Ukraine, Kyrgyzstan,
Russia, and Belarus have established a distinctive position in the mass market
system of the fashion industry, with clothing produced by fashion brands known
for their high quality, indicating a high level of potential in the field of clothing
design in these countries. Specifically, factors contributing to the popularity of
these brands' products in foreign markets include:
-
the design solutions in costume models aligning with the latest
contemporary fashion trends;
-
the garments being shaped based on perfectly prepared
patterns reflecting excellent constructive characteristics;
-
high technological quality;
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-
effective use of unusual materials and various modern
decorative elements in the processes of fabric selection and
ebellishment.
These achievements can be included among the factors contributing to their
success.
In recent years, the Uzbek fashion scene has seen the emergence of brands
that effectively target specific consumer audiences, offering seasonal and trend-
oriented clothing collections, as well as establishing efficient marketing systems.
Local fashion brands such as "Chiroyli", "Bjeans", "Pink Island", and several
others have carved out a niche for themselves in our market, which is saturated
with foreign products.
Additionally, it should be noted that in developed countries producing
products in the global fashion industry's "mass market" sector, a number of
relevant factors are present, including well-established marketing and sales
systems, as well as the availability of online stores providing services to
customers. These factors indicate that similar tasks need to be implemented
within our country's fashion industry in the mass market context.
In this regard, one of the primary tasks awaiting resolution is to accelerate
scientific processes within the industry and to cultivate highly knowledgeable
graduates and researchers. This is crucial because the development of any sector
cannot be achieved without advancing its scientific foundations.
In conclusion, it should be emphasized that the acceleration of scientific
research in our country's fashion industry will primarily contribute to the
formation of fashion critics and analysts who can analyze practical processes,
explain expected achievements and shortcomings through concrete facts, and
provide practical recommendations to designers. This, in turn, will enable the
industry to develop in a specific direction aimed at enhancing Uzbekistan's
fashion industry.
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