The world seems unable to accommodate your innocent movements
You are holding flowers, jumping and swaying
The cannon covers you with ferocity
You touch the graffiti and turn around the windowsill
Sharp blade blasting threatens your chest
Stripping away your unformed cognition of love
Do you remember the vines planted in your childhood
Do you imagine the expected blooming of flowers
Do you know that your mother also once
Gradually deepening the wait
Waiting for your heart to be opened by love
Share the colors you bring to the world
The cannon fodder will alter the crow painting
Leave behind the gray and white of sorrow and hatred
Filled with sadness that cannot be buried
Remember that the vines are connected deeper into one vein
Continue to hold onto your love
You stand up and try to search for it
Understand that the enemy is the most unworthy existence
You stand up and learn to take steps
Bring true color to the land
Su Yun, 17 years old, is a member of the Chinese Poetry Society and a young poet. His works have been published in more than ten countries. He has published two poetry collections in China, namely Inspiration from All Things and Wisdom and Philosophy, and one in India titled WITH ECSTASY OF MUSINGS IN TRANQUILITY. He has won the Guido Gozzano Orchard Award in Italy, the Special Award for Foreign Writers in the City of Pomezia, and was praised by the organizing committee as the “Craftsman of Chinese Lyric Poetry”. He has also received the “Cuttlefish Bone” Best International Writer Award for those under 25.
she must survive where fears lingers like a apocalypse.
she is the sun that eclipse the moon.
fighting everyday for a new dawn.
A Female’s Quiet Battle
To be female
has often meant
to be seen before being known
attention arriving uninvited,
everywhere.
They call me quiet,
an introvert wrapped in silence,
yet even in stillness
eyes find me.
Before I speak,
I am already felt—
like heat on the back of the neck,
like footsteps that never pass.
Silence does not hide me.
It only makes the staring louder
a weight pressing
between my shoulders,
refusing to lift.
I walk with awareness stitched into my skin,
a constant echo of be careful.
For danger wears many faces,
stories whispered
about what could happen
if I am not cautious enough
There are fears I carry
standing to speak,
finding my voice
in rooms too loud,
too watchful.
They say overcome it,
but courage is not simple
when fear has learned your name
They say a woman is fragile
as if strength cannot live
inside trembling hands,
as if breaking is all we know.
And so I shrink sometimes,
not from weakness,
but from knowing
the world does not soften for me.
I cannot choose recklessness
and expect safety in return.
Where others roam without thought,
I measure my steps,
I have learned to fold myself
not small,
but precise
slipping through spaces
without catching
like fabric on a nail.
Even my voice
checks the room before it rises,
testing the air
like something that could burn.
Freedom, for me,
is not careless.
It is the lit path,
the crowded bus,
the seat closest to the door
a quiet math of staying safe.
In those moments,
I am both the one who fears
and the one who guards
holding myself together
with nothing but awareness
They have called me fragile.
But they have not seen
how steady my hands remain
when my heart is running,
how I keep walking
when every instinct says turn back.
Still, I move.
Not freely
but forward.
And if I am watched,
if I am measured,
if I must carry this constant knowing
then I will become
unmissable in another way:
not the girl who shrinks,
not the shadow that passes
but the voice of a woman
that remained
despite the fear.
This is a poem by Hauwa Hassan Haruna, I am an upcoming artist, who fell in love with the literary space and trying to find her own place and voice. I have a post graduate degree in international relations and as an aspiring diplomat, I wish to convey message through writing.
Hauwa Hassan Haruna writes from Minna, Nigeria. She holds a B.A and M.A International studies and diplomacy from Ibrahim Badamosi Babangida University, Lapai. When she is not writing, she travels and loves to cook.
THE ROLE OF THE GARMENT INDUSTRY IN THE ECONOMIC DEVELOPMENT OF UZBEKISTAN AND ITS FUTURE PROSPECTS
Fergana Region, Dangara District, Technical School No. 3
Department of Economics and Management
Teacher of the subject “Design and Modeling of Women’s Clothing”
Umarova Muattarxon Akromjon qizi
Abstract:
This article analyzes the important role of the garment industry in the economic development of Uzbekistan. The study examines key areas such as increasing the competitiveness of the sector in global and regional markets, expanding export potential, introducing new technologies, and ensuring employment in the labor market. The importance of meeting consumer demand through the quality, design, and innovative approaches of garment products is emphasized. The article also explores factors influencing the development of the industry, including government policy, investments, workforce training systems, and the role of international cooperation. The research results are aimed at providing specific proposals and recommendations for further development of the garment industry in Uzbekistan. Ensuring sustainable growth of the sector, competing with global brands, and increasing its contribution to the national economy are set as future objectives.
Ushbu maqola O’zbekistonda tikuvchilik sanoatining iqtisodiy rivojlanishdagi muhim o’rnini tahlil qiladi. Tadqiqotda sohaning jahon va mintaqaviy bozorlardagi raqobatbardoshligini oshirish, eksport salohiyatini kengaytirish, yangi texnologiyalarni joriy etish va mehnat bozorida bandlikni ta’minlash kabi muhim yo’nalishlar ko’rib chiqiladi. Tikuvchilik mahsulotlarining sifati, dizayni va innovatsion yondashuvlar orqali iste’molchilar talabini qondirishning ahamiyati ta’kidlanadi. Maqolada soha rivojlanishiga ta’sir etuvchi omillar, jumladan, davlat siyosati, investitsiyalar, kadrlar tayyorlash tizimi va xalqaro hamkorlikning roli ham o’rganilgan. Tadqiqot natijalari O’zbekistonda tikuvchilik sanoatini yanada rivojlantirish bo’yicha aniq taklif va tavsiyalar berishga qaratilgan. Kelajakda sohaning barqaror o’sishini ta’minlash, jahon brendlari bilan raqobatlashish va milliy iqtisodiyotga qo’shayotgan hissasini yanada oshirish maqsad qilingan.
In the process of modernizing and diversifying Uzbekistan’s economy, the role of industrial sectors is steadily increasing. Among these sectors, the textile and garment industry holds a special place. In recent years, decrees and resolutions of the President of the Republic of Uzbekistan aimed at developing industry, particularly measures supporting the textile and garment sector, have created a solid foundation for the rapid growth of the industry.
The garment industry plays an important role not only in production but also in creating jobs, ensuring women’s employment, increasing export revenues, and forming national brands. In the global economy, there is a constant demand for textile and garment products, making this sector strategically important. Uzbekistan’s natural and climatic conditions, especially its long-standing traditions in cotton production, provide a favorable basis for the development of the textile and garment industry.
However, increasing the sector’s active participation in global markets, enhancing its competitiveness, and introducing innovative technologies remain urgent tasks. This study aims to conduct an in-depth analysis of the role of the garment industry in Uzbekistan’s economic development, identify existing problems, and determine future prospects. In particular, issues such as increasing export potential, entering new markets, improving product quality, and implementing modern design and technologies are thoroughly examined.
The objective of the research is to scientifically assess the contribution of Uzbekistan’s garment industry to economic development and to develop practical recommendations for its further advancement.
2. RESEARCH METHODOLOGY
This study used systematic and comparative methods to analyze the role of the garment industry in Uzbekistan’s economic development. The main data sources included official statistical data, annual reports, and reviews published by the State Statistics Committee of the Republic of Uzbekistan, the Ministry of Investments, Industry and Trade, and the Uzbekistan “Uztextile Industry” Association, as well as data from international organizations such as the World Trade Organization, the World Bank, and research institutions.
The following methods were applied:
Statistical analysis: Key economic indicators such as production volume, share in GDP, export and import figures, investments, and employment levels in the garment industry were collected and analyzed. Trends over time were identified using time series analysis. Regression analysis in the form
Yₜ = a + bXₜ + eₜ
was used to study relationships between economic variables.
Comparative analysis: The development level and efficiency of Uzbekistan’s garment industry were compared with those of Central Asian countries and leading global producers such as Bangladesh, Vietnam, and Turkey. This helped identify strengths, weaknesses, and competitiveness.
Expert evaluation: Interviews with industry specialists, company managers, and government representatives were conducted to gather insights into current conditions, challenges, and future prospects.
Analytical-synthetic method: Based on collected statistical data and expert opinions, general conclusions were drawn, identifying the causes of problems and their solutions.
Economic-mathematical modeling: Simple models were used to forecast future export volumes and evaluate investment efficiency. For example:
The combination of these methods allowed for a comprehensive assessment of the economic efficiency of the garment industry, its impact on the national economy, and development trends.
3. RESULTS
The analysis revealed several important indicators and trends regarding the role of Uzbekistan’s garment industry in economic development. Over the past five years (2019–2023), production volume in the sector has shown steady growth. According to official statistics, by 2023, production increased approximately 1.8 times compared to 2019. The sector’s share in GDP also gradually increased, reaching 2.5% in 2023.
Export potential is one of the sector’s major achievements. In 2023, garment exports exceeded 2.2 billion USD, increasing by 1.5 times compared to 2019. Key export destinations include Russia, Kazakhstan, European Union countries (Germany, Poland, Italy), China, and the United States. Export structure mainly consists of ready-made garments (shirts, trousers, jackets) and textile products (yarn and fabrics). However, most exports still belong to price-competitive goods, and there is a need to increase the share of high value-added branded products.
The industry plays a crucial role in employment. As of 2023, more than 300,000 people are employed in the sector, over 70% of whom are women. This significantly improves socio-economic conditions, especially in rural areas and small towns.
Investment inflows have also shown positive trends. Due to government incentives and efforts to attract foreign investment, modern production facilities have been established. In 2023, about 500 million USD was invested in the sector, mainly for purchasing new equipment and technologies, which improved product quality and production efficiency.
However, several challenges remain, including fluctuations in raw material prices, high logistics costs, недостаточная development of design and marketing, and a shortage of skilled labor and managers. Increasing production of innovative and high-tech products remains a key task.
4. DISCUSSION
The findings confirm that Uzbekistan’s garment industry plays an important and growing role in economic development. Its contribution to GDP and employment highlights its strategic importance. Increasing export volumes also help strengthen foreign exchange reserves and improve the trade balance.
However, the global garment industry is dynamic and influenced by factors such as pandemics, raw material price fluctuations, geopolitical conditions, and technological innovations. Uzbekistan must adapt to these changes to maintain competitiveness.
First, improving product quality and focusing on high value-added goods is essential. Currently, exports are dominated by basic garments and fabrics, while global demand is shifting toward branded and designer products. This requires establishing innovative design studios, collaborating with international designers, and adopting modern technologies.
Value Added = Selling Price – Raw Material Costs
Second, ensuring stable raw material supply and reducing price volatility is important. Although Uzbekistan is a major cotton producer, some synthetic materials and accessories are imported, affecting costs. Strengthening vertical integration can help address this issue.
Third, reducing logistics and transportation costs is crucial for export competitiveness. Developing multimodal transport systems, simplifying customs procedures, and establishing modern logistics centers are necessary steps.
Fourth, improving the education and training system is essential to supply qualified engineers, designers, and managers. Educational programs should align with industry needs and emphasize practical skills.
Fifth, promoting Uzbekistan’s garment brand globally is vital. Participation in international exhibitions, use of online platforms, and effective marketing strategies will help strengthen the “Made in Uzbekistan” brand.
5. CONCLUSION
This study shows that Uzbekistan’s garment industry is a strategically important, rapidly developing, and promising sector of the economy. Recent achievements—such as increased production, expanded exports, and higher employment—contribute significantly to economic growth.
To ensure future development, the following priorities are recommended:
Improve product quality and produce high value-added goods
Strengthen vertical integration and ensure stable raw material supply
Improve logistics and transportation systems
Modernize workforce training and education
Develop and promote the national “Made in Uzbekistan” brand
With continued government support, entrepreneurial initiative, and international cooperation, Uzbekistan’s garment industry can become a leading sector and secure a strong position in global markets.
Future research may focus on specific segments such as sportswear and high-tech textiles, development of small and medium enterprises, and integration of digital technologies into the industry.
FOYDALANILGAN ADABIYOTLAR ROʻYXATI
1.O’zbekiston Respublikasi Davlat statistika qo’mitasi. (2019-2023). Sanoat statistikasi yillik to’plamlari. Toshkent.
2. O’zbekiston “O’zto’qimachiliksanoat” uyushmasi. (2023). Yillik hisobot va sharhlar. Toshkent.
3. O’zbekiston Respublikasi Investitsiyalar, sanoat va savdo vazirligi. (2023). Sanoatni rivojlantirish bo’yicha ma’lumotlar. Toshkent.
4. Jahon banki. (2023). Uzbekistan Economic Update. Washington, D.C.
5. International Trade Centre (ITC). (2023). Uzbekistan: Textile and clothing sector analysis. Geneva.
6. Abduganiev, A. A. (2020). To’qimachilik sanoatini rivojlantirishning iqtisodiy mexanizmlari. Iqtisodiyot fanlari doktori dissertatsiyasi. Toshkent.
7. Xoshimov, B. M. (2021). O’zbekistonda kichik biznes va xususiy tadbirkorlikni rivojlantirish istiqbollari. Toshkent: Iqtisodiyot universiteti nashriyoti.
8. Smith, J. (2022). Global Textile and Apparel Industry Trends. Journal of Fashion Marketing and Management, 26(3), 345-360.
9. World Trade Organization (WTO). (2023). World Trade Statistical Review. Geneva.
10. European Bank for Reconstruction and Development (EBRD). (2023). Uzbekistan: Country Strategy. London.
11. Rahimov, O. Q. (2019). O’zbekiston Respublikasi eksport salohiyatini oshirish yo’llari. Iqtisodiyot va innovatsiya, 2(1), 55-70.
12. National Bureau of Statistics of China. (2023). China Statistical Yearbook. Beijing.
13. Turkish Statistical Institute (TurkStat). (2023). Manufacturing Industry Statistics. Ankara.
14. Bangladesh Garment Manufacturers and Exporters Association (BGMEA). (2023). Annual Report. Dhaka.
15. United Nations Conference on Trade and Development (UNCTAD). (2023). World Investment Report. Geneva.
16. OECD. (2022). Trade and Competitiveness Outlook. Paris.
17. Asian Development Bank (ADB). (2023). Asian Development Outlook. Manila.
18. Yuldashev, N. S. (2022). To’qimachilik sanoatida innovatsion menejment. Toshkent: Fan va texnologiya nashriyoti.
19. Ivanov, P. (2021). The Role of SMEs in the Global Apparel Industry. International Journal of Business and Management, 16(5), 112-125.
20. Karimova, Z. A. (2020). O’zbekiston to’qimachilik sanoatida brending strategiyalari. Toshkent: Iqtisodiyot nashriyoti.
Dear Alexander, you are a very creative person – a poet and an artist! Tell us, who do you see yourself more? A poet or an artist?
Answer
I would not like to separate these two concepts. Being both a poet and an artist means thinking, connecting thoughts together, giving them a complete look and striving to present your work to the public. And being a poet or an artist, an architect, a designer or a musician is more about the forms and tools of presenting your thoughts.
For me, literary and artistic methods of work are familiar and convenient to the same extent. Some images are easier to present in the format of a poem, some in the format of a picture, in addition, there are visual people, there are audial. In my opinion, the information capacity (the main part) of poetic and artistic works is comparable.
I continue to explore this issue and right now, within the framework of our new working project “choism”, I strive to study and present the possibilities of both literature and fine art to the same extent.
You have recently created a new project called “Hyperpoem”. What prompted you to create this project?
Answer
This was and still is one of our most ambitious and time-consuming projects. It all started with a small publication on social networks, in which we asked the authors to write one quatrain each in order to collect them later into one work. The effect was amazing! Dozens of authors from different countries responded to this invitation. Then I realized that the project is relevant, interesting and useful for modern poets, of whom there are millions in the world!
But what purpose could be offered to them to continue the project and turn it into something more? A world record! It was a very solid and attractive overall goal, which gave the project clarity and symbolism, and the theme of “International Friendship” only further revealed the potential of both the entire Hyperpoem and each poet in particular.
What does poetry mean to you?
Answer
For me, poetry is a modern tool for the representation of thought. Of course, poetry itself and its role have changed a lot since the 18th and 19th centuries, and in the 21st century we must look for new ways to serve it for the benefit of humanity. In my opinion, Hyperpoem can serve as a good example, it is not a banal festival, creative evening or competition, but something new in nature – a socio-poetic phenomenon! Perhaps this is just what the literature of the 21st century can and should give us.
Tell us more about Hyperpoem. How many countries are participating?
Answer
Now poets from such countries as Albania, Algeria, Argentina, Armenia, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Benin, Bhutan, Brazil, Bolivia, Bosnia and Herzegovina, Bulgaria, Cape Verde, Canada, Chile, China, Croatia, Czech Republic, Colombia, Cuba, Egypt, England, Ecuador, France, Georgia, Germany, Ghana, Greece, Guatemala, Haiti, India, Indonesia, Ivory Coast, Israel, Italy, Jamaica, Japan, Kazakhstan, Kenya, Kyrgyzstan, Latvia, Lebanon, Libya, Liberia, Macedonia, Malta, Malawi, Mauritius, Mayotte, Malaysia, Mexico, Montenegro, Morocco, Moldova, Myanmar, New Zealand, Nepal, Nigeria, Norway, Paraguay, Pakistan, Philippines, Portugal, Poland, Romania, Russia, Serbia, Singapore, Slovenia, South Africa, Spain, Saudi Arabia, South Korea, Slovakia, Sweden, Taiwan, Tajikistan, Turkey, Tanzania, Trinidad and Tobago, Tunisia, USA, Ukraine, Uzbekistan, Uganda, Venezuela, Vietnam, Zimbabwe.
And these are only those participants who clearly indicated their countries, but some of them moved to live in others!
This is a world record project. What does it mean to you?
Answer
For me, the world record is, on the one hand, the stage of execution and implementation of the first stage of work on the project; on the other hand, it is the public recognition of our Hyperpoem. Already, according to a number of indicators, Hyperpoem is a unique phenomenon not only for the world of literature, but also for the history of mankind as a whole!
Do you think you are making your dreams come true?
Answer
Perhaps, yes… Hyperpoem was also a dream, but I shared it with hundreds and even thousands of poets around the world and our common dream became a reality!
How many months have you been working on this project?
Answer
We have been working on the project for almost two years. It was quite a busy stage of life, full of many related projects, interesting acquaintances, experiments, etc.
I want to note that our team does not plan to stop there, we will continue to work on the development of Hyperpoem in an updated format, because potentially it will be able to accept thousands more authors and actively live and develop for many years!
How many participants are involved in Hyperpoem?
Answer
In total, about 1,700 participants were noted in the Hyperpoem. I would like to note that it would not have been possible to achieve such a result without the active participation of our co-organizers: Dr. Joseph Spence, Kieu Bich Hau, Lou Fu (Hsu, Shih-Ting), Desa Dautovic, Miloš B. Ivetić, Marija Jotić, Eva Petropoulou-Lianou, Sadovskaya Lyudmila, Isilda Nunes, Stefania Danilova, Daria Galvas and special thanks to the ukiyoto publishing house, who invited hundreds of poets to participate in the project!
they did so with such intensity that they reached my heart.
They scorched it so deeply that, upon your departure,
only weeping embers remained.
The crystals of my soul shattered the valleys of my skin;
your love was dying in my heart,
while in the future, hope began to bloom.
ALTAR
Today I remember the altar where I left tears and disappointments;
in that space, I abandoned the bitter moments caused by you.
That altar where, despite my pain, I had to let you go.
My forced heart suffered for you; fragile and innocent, it yearned for you.
Blessed altar where I finally buried my memories and yours,
moments we once called “happiness.”
The joy I long for now dwells in a new temple,
where your shadow can no longer harm me.
After anointing myself with courage, I healed the scars of my soul.
My heart reacted, covering itself in hope;
and without remorse, it closed the door on you,
sending you, forever, to the altar of oblivion.
THE PATH
The paths become eternal beneath each step,
despite the thorny stones that bite the trail.
There are also beautiful flowers for which to be grateful.
Many times, the storms lash against us,
but the winds lull us, appeasing the pain;
and abruptly, our wings expand in search of the sun.
Perhaps we will lose our way a thousand times more,
at times, the march may even seem difficult.
Even so, the horizon awaits us, ready to be conquered.
The goal, sometimes, is drawn in blurred lines,
but with resolve and persistence, we shall reach it.
We will arrive with smiles and with tears
for the fellow travelers that time left behind.
Colombia
Laskiaf Amortegui
BIOGRAPHY: LASKIAF AMORTEGUI
Laskiaf Amortegui is a prominent Colombian poet, narrative writer, radio broadcaster, editor, and voice-over artist for poetry and book trailers. With a career that transcends borders, she is the co-author of several international anthologies and the author of the book “Alas del Alma: Los Milagros” (focused on energy leveling and healing), as well as the successful novel “La jaula de las mariposas”. This novel, which tells the story of five women and their environment, has positioned itself as one of the best-selling works in its genre on Amazon and was awarded the prestigious Honorary Diploma “Arina Gold – 2025” in Russia.
A winner of multiple international awards for voice, narrative, and poetic career, her writings have been translated and published worldwide. She represented Colombia as a jury member for the Asian Literary Contest and was honored as Poet of the Year 2025 by Sefrou Cultural Magazine and Snippets International Magazine (Morocco).
She is currently preparing the launch of her upcoming projects: the novel “Roja” and the poetry collection “Letras inconexas”.
