PROSPECTS FOR PROMOTING UZBEKISTAN’S TOURISM BRAND IN THE INTERNATIONAL MARKET THROUGH ELEMENTS OF NATIONAL FASHION
DOI:
https://doi.org/10.5281/zenodo.22812422Abstract
This study employs a documentary and analytical approach that combines published tourism statistics, international experience with dress-based tourism instruments, and evidence on how fashion-related attributes influence destination brand perceptions. The sources are classified according to their level of evidential reliability, derived indicators are calculated using explicitly stated formulas, and assessments of market positions are clearly identified as the author’s judgement rather than as directly measured scores. The article translates a general development objective into a structured market-by-market and product-by-product assessment organised across three implementation horizons. It distinguishes between conclusions supported directly by available evidence and those based on analytical judgement and specifies a measurement framework through which the identified prospects can be systematically assessed and empirically evaluated. This approach provides a transparent basis for examining the potential contribution of national fashion elements to strengthening Uzbekistan’s tourism brand in the international marketKeywords
destination promotion, national fashion, nation branding, market selection, tourism yield, authenticity, Uzbekistan, Silk Road, craft tourism, tourism strategy.References
1. Uzbekistan tourism development strategy to 2030. Presidential Resolution No. RP-348 of 19 November
2025: 20 million foreign visitors, tourism contribution of 7 per cent of GDP, and more than USD 6 billion
in tourism service exports, with an interim milestone of 12 million visitors in 2026. Reported by Travel
Tomorrow and UzDaily, 2025. Available at: Travel Tomorrow – Uzbekistan tourism roadmap to 2030
2. Reported inbound tourism figures for Uzbekistan, 2025: 11.7 million visitors and leading source markets.
Travel And Tour World, 2025, reporting official data; figures reported as provisional and unaudited.
Available at: Travel And Tour World – Uzbekistan tourism figures for 2025
3. UNESCO Intangible Cultural Heritage. Margilan Crafts Development Centre: Safeguarding of the Atlas
and Adras Making Traditional Technologies. Register of Good Safeguarding Practices, 2017. Available at:
UNESCO Intangible Cultural Heritage – Margilan Crafts Development Centre
4. UNESCO Creative Cities Network. Bukhara, Uzbekistan: Creative City of Crafts and Folk Art. 2023.
Available at: UNESCO Creative Cities Network – Bukhara
5. Uzbekistan’s textile exports reach USD 2.9 billion in 2024, accounting for 10.6 per cent of total exports.
Daryo, 4 March 2025, reporting data from the Statistics Agency of the Republic of Uzbekistan. Available at:
Daryo – Uzbekistan’s textile exports in 2024
6. Uzbekistan’s textile sector contributes over 10 per cent to total exports. Kun.uz, 4 March 2025, reporting
data from the Statistics Agency of the Republic of Uzbekistan. Available at: Kun.uz – Uzbekistan’s textile
sector and exports
7. Uzbekistan tourism data for 2023 and 2024: 6.6 million and 8.2 million tourists, respectively, and USD
3.5 billion in tourism revenue in 2024. Kun.uz and Travel And Tour World, 2025, reporting data from the
Statistics Agency and other official sources. Available at: Kun.uz – 8.2 million tourists visited Uzbekistan
in 2024
8. Anholt S. Competitive Identity: The New Brand Management for Nations, Cities and Regions. Basingstoke:
Palgrave Macmillan; 2007.
9. Baloglu S, McCleary KW. A model of destination image formation. Ann Tour Res. 1999;26(4):868–897.
10. Cho M, Ko E. Does fashion week enhance city brand equity? The impact of fashion destination experience
on e-WOM and revisit intention. Tour Rev. 2025;80(6):1227–1241. doi:10.1108/TR-07-2024-0636.
11. Konečnik M, Gartner WC. Customer-based brand equity for a destination. Ann Tour Res. 2007;34(2):400–
421.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2026 GREEN ECONOMY AND DEVELOPMENT
This work is licensed under a Creative Commons Attribution 4.0 International License.
