Clothing in Gylias

Two Gylian women in Náras, 1964

Gylias is known for its clothing industry, which developed since independence into one of its best-known aspects abroad, and its permissive social attitudes towards clothing. While fashion as conventionally understood is not practiced in Gylias, certain common elements and stylistic traits characterise the clothing industry. These include the fusion of utilitarianism and aesthetic quality as an ideal, lack of dress codes and nudity taboos, and emphasis on adapting items to individual preferences.

Clothesmaking is one of the strongest industries of the Gylian economy, and clothing remains an important part of the country's cultural life, giving Gylians a reputation in Tyran for good, if eccentric, tastes in clothing. Historian Razise Délaon jokingly likened clothing to a Gylian secular religion in The Construction of Gylian Identity. Gylian clothing styles have been influenced by the country's climate, the impact of the Golden Revolution, and international trends.

The two leading organisations governing the Gylian clothing industry are the Association of Clothesmakers and Textile Workers — a trade union representing clothing industry workers affiliated with the General Council of Workers' Unions and Associations — and the Gylian Clothing Federation, a trade group and governing body affiliated with the National Cooperative Confederation. The GCF is responsible for coordination within the clothing industry, quality standards and control, promoting it at home and abroad, and organising specialised education in the field.

History

Emergence of the clothing industry

The clothing industry did not benefit notably from Xevdenite industrialisation in the 19th century. Most of the clothes and luxury goods used by the royal court and the Xevdenite elite were imported. Clothing in Xevden had a significant role in signaling social status: the divide between the lavish clothing of the well-off and the modest or ragged clothing of the poor reflected the pervasive economic inequality of the country, which was correlated with ethnic divisions between the Xevdenite elite and the impoverished majority.

During the Gylian ascendancy, clothing became a symbol of grievances about ethnic discrimination, authoritarianism, and economic exploitation. Gylian artists produced many social realist paintings that portrayed the harsh conditions in which Gylians lived, seeking to give their subjects the dignity that the state denied them. At the start of the 20th century, these elements had coalesced into a general cultural disdain for extravagance and flashy clothing, associated with oppression and injustice.

A more favourable attitude formed in Alscia, a Gylic-majority province of the Cacertian Empire starting in 1908. Access to clothing was a symbol of the province's prosperity and development.

The constitution of the Free Territories during the Liberation War played a significant, yet indirect, role in shaping Gylian clothesmaking. The Free Territories experimented with different anarchist economics models, and built a large network of supply distribution, implementing rationing to meet basic necessities. Wartime clothing became frugal and versatile by necessity, as materials were limited and had to be conserved.

Clothes rationing was carried out on a points system, based on materials. In the initial stage, various communal assemblies and cooperatives devised their own methods and guidelines to tailor production to availability. This gradually evolved into a system of voluntary restrictions and regulations, spread by the General Council of Workers' Unions and Associations and General Council of the Free Territories, aiming to preserve minimum quality standards while conserving materials.

The clothes and styles that developed from the system came to be known as vêtements règlementaires (French for "regulation clothes") or vêtements utilitaires ("utility clothing"). All-purpose and one-piece garments became popular, such as shirtdresses, coatdresses, boilersuits, and siren suits. Skirts and trousers were reduced to around knee-length to save fabric. Unusual materials began to be used as substitutes for normal cloth. Garments with buttons came to be preferred due to their adaptability for Gylias' climate, and buttons and pockets were frequently used as decorations due to their functionality.

Despite fears that rationing could be authoritarian or a source of discontent, it actually incentivised clothesmakers to focus on style, and some adapted to the regulations with notable inventiveness. Rationing helped advance one part of the Territories' social revolution, as it caused a shift towards unisex clothing, in line with the efforts to abolish strict gender binarism. Formerly masculine- or feminine-perceived clothing lost gender connotations and came to be worn by everyone. Fashion accessories and headwear were favoured for personal touches.

Out of necessity, many Gylians began learning textile work so they could repair and customise their clothes personally. Campaigns and local publications advised Gylians how to reuse old clothing and repair garments. Foreign aid and volunteers were a key source of access to contemporary fashion, but wartime norms shunned overly glamourised or flashy appearances.

A spirit of stylish frugality became dominant among Gylian clothing in the Free Territories. The length of the Liberation War also played a part in entrenching such preferences among the public.

Independence

Gylian independence, achieved on 2 January 1958, brought with it another period of transition, as the model of the Free Territories was extended throughout the country and economic, social, and political reforms commenced in difficult conditions. Rationing continued until 1961, and clothing remained subject to its regulations. The end of the war, completion of the shift towards market socialism, and Gylias' entrance into the Common Sphere brought new opportunities for trade, and thus more access to clothing.

The clothing industry's growth was galvanised by the success of Esine Nærzyne's company, VoKl. Esine's design philosophy — that clothing should be pleasurable and reflect the wearer's identity — synthesised the distinctive traits of Gylian clothing into a unified approach, expressed through her designs and writings. VoKl gained public notice particularly for its work designing the uniforms of the Gylian Police, Gylian National Rail and Transportation Services, and other public institutions. VoKl expanded and enjoyed a period of preeminence in the clothing market; although it would lose its dominant share to other clothing companies, these companies themselves were modeled after VoKl, and thus reflected its strong contribution to shaping the clothes industry.

The end of rationing in 1961 and the growing "accommodationist" consensus of the Golden Revolution opened new possibilities for clothing. Nevertheless, preferences largely remained as they had been established during the war. Ðaina Levysti established herself as an influential proponent of what she called "classic" clothing, advocating the voluntary maintenance of restrictions similar to those in effect under rationing. Her 1960 manifesto The Empire of Elegance summed up the growing trend towards socialisation of luxury, and her humorous suggestions that the radical changes of the Golden Revolution should be accompanied by the maintenance of neatly-dressed appearances unexpectedly struck a chord with the public, and found some success as a visual encapsulation of the eclecticism and revolutionary exuberance of the times. Notable figures such as Rin Tōsaka, Sakura Tōsaka, Tomoko Tōsaka, Aliska Géza, Erika Djilesh, and Marguerite Tailler and the Revolutionary Communications Office helped set an example and furthered acceptance that it was possible to combine political radicalism with sophisticated presentation — a trend one commentator jokingly compared to "fostering a nation of champagne socialists".

In addition, several subcultures formed which used elegant clothing as a symbol of defiance and resilience during the National Obligation period.

1960s—1970s

Typical day-to-day Gylian outerwear of the 1960s.
Left: A georgette reads a newspaper in Velouria, 1964.
Right: A student reading on the steps of Anca Déuréy University, Narsiad, 1966.

The economic boom that began in the 1960s and the progress of the Golden Revolution allowed the clothing industry to flourish, becoming one of Gylias' principal industries. Most clothesmakers adopted the VoKl model for their cooperatives, relying on personalisation over mass production, and its philosophy, aiming for aesthetically pleasing, functional, and esay to customise clothing as an ideal. A spirit of frivolity and experimentation became the norm: timeless designs were combined with bright colour palettes and flamboyant accessories, appliqué or screen printed designs were used to add touches of eccentricity to otherwise sophisticated looks. Dress codes and distinctions between formal and informal clothing were abolished.

Amid the diversity of clothing that defined Gylian society, overall appearance still tended towards ideals of egalitarian luxury and understated glamour, and certain styles achieved popularity. The Levystile tenets presented in Ðaina Levysti's writings and illustrations became popular. They influenced the appearance of georgettes — a subculture characterised by tongue-in-cheek embrace of conspicuous leisure and passive consumerism —, merchants — whose refined image helped cement their place in Gylian society and distanced them from the negative reputations of peddlers and hawkers —, and especially hétaïres — whose profession reuniting entertainment, hosting, and sex work relied heavily on cultivating an image of old-fashioned elegance.

Other subcultures fashioned more eccentric outfits and looked towards 19th century fashion such as dandies and redingotes for inspiration; the appearance of Gylias' first President Eiín Markatain provided notable inspiration. The success of The Sunday Girls, The Watts, The Wells, and The Dandy Girls, among others, inspired many musical artists to devise a common look to go with their music. During the Gylian Invasion, some would use outfits as a lighthearted shorthand for their heritage, exemplified by The Sunday Girls occasionally wearing jackets with buttons shaped like the Gylian seal. The growth of psychedelia in the late 1960s created a trend towards psychedelic prints and mismatched patterns.

Clothes came to be seen as symbols of the new, liberated, and colourful society built by the Golden Revolution, and entered into popular culture. Gauchic artists often depicted well-dressed persons, providing inspiration and influence for clothesmakers. Orgone films and the demopolitan movement celebrated glamorous young Gylians and their lives in the cities, while Rauna Næsve's career relied heavily on her distinctive wardrobe to accentuate her sex appeal. Clothing became a theme and a niche in Gylian pornography, with various filmmakers and actors exploring ways to visually eroticise the act of getting dressed and wearing elegant clothes.

The heavily regulated domestic market of the Gylian economy played a part in limiting the dissemination of foreign fashion trends. The ones that did meet some acceptance were the ones that could be easily adapted to existing preferences. OMFLG founder Françoise Chatelain specifically used the "New Look" as her public image to complement her efforts to promote French language and culture in Gylias, to notable success. Other clothing items such as the combination of thin trench coats with berets also gathered a following due to their identification with French notions of sophistication.

File:LPÉ-issue89.jpg

The cover of L'Petit Écho, issue 89, 18 May 1962. The Écho and Silhouette were important influences on Gylian ideals of egalitarian and customised glamour.

The do it yourself philosophy engedered by the Free Territories continued to be promoted by campaigns, magazines — including L'Petit Écho, Silhouette, teen —, and various advice books, pamphlets, and informal meetings. It was observed that Gylian customers manifested little brand loyalty — they bought their clothes from various clothesmakers and customised them according to their own tastes.

With additional exposure from the Gylian Invasion, clothing became a significant export. The low exchange rate of the þaler made exports cheap, and the overall aesthetic of Gylian clothing attracted foreign customers who sought haute couture at low prices.

1980s

The economic and social difficulties of the wretched decade also manifested in clothing. With the loss of the exuberant atmosphere of the Golden Revolution, designs took a modest turn, and flamboyant accessories and opulent touches were reduced.

Contemporary power dressing reached Gylias and won some acceptance during the 1980s. In reaction to the wretched decade, styles that emphasised colourful clothing and make-up emerged. The flamboyant costumes of new wave, New Romantic, and cyberpunk movements also exerted a certain influence.

Kaede Nakano founded the Clothes Bureau company during the decade, laying the foundations for its future success. She created a style based on the appearance of feminine white-collar workers, including bright shirts or blouses, dark suits, and bows and waistcoats. Initially, the company focused on building up a following among Miranian Gylians. It was successful, and its designs came to be humorously likened to Miranian Gylians' "national uniform".

1990s—present

Changes took place in the Gylian clothing industry in the 1990s. Economic recovery and renewed growth contributed to a renewed sense of national confidence, and shift towards more flamboyant experimentation. Within the Mathilde Vieira government, Aishwarya Devi's work to restrain consumption and reduce waste for environmental purposes caused the industry to devote more attention to exports, and cemented the predominance of sustainable clothing. Textile recycling also assumed greater importance.

Influenced by events like the Decleyre Summit and the establishment of the Social Partnership Program, cultural attitudes towards entrepreneurship grew more positive. As a result, Clothes Bureau-style appearances grew in popularity nationally, and businesswomen such as Agathe Sanna, Marie-Agnès Delaunay, Saira Telyn, and Kaho Kawase became style icons.

Mami Nomura, Stella Star's lead singer, also became a style icon during the decade, helping popularise a trend towards retro style and vintage clothing. Her versatile and diverse wardrobe contrasted with pop stars with a more constant appearance, like Asuka, Misato Katsuragi, Annetta Tirone, and The Chrysalides.

The growth of the internet in Gylias led to a controlled, gradual shift towards online retail by clothesmakers and retailers.

Characteristics

Clothing illustrations from Silhouette, 1982-1983.

Gylian clothing is generally defined by casual elegance and quirkiness. Garments are made to be both functional and aesthetically pleasing. Eclectic combinations of different styles in a single wardrobe are common. Garments are usually made out of thinner fabrics, in order to maintain comfort in the tropical climate.

While Gylias has a strong clothing industry, it does not have a fashion industry based on cyclical changes of style or practices such as fashion weeks and runways. The expectation is that individuals will have their clothes tailored for themselves, or customise them according to their own preferences — an ideal summed up by the slogan "to each their own tailor" (chacun s'tailleure).

A distinctive trait of the clothing industry is the preference for illustration of clothes rather than photography. Illustration is preferred as it is seen as showing proposals and ideas that can be modified and adapted, while photography is seen as normative. Illustrations are considered an art form in their own right, with a notable presence in pop culture and influence on the Gauchic movement. The continued predominance of illustration has led several foreign fashion illustrators to move to Gylias after being displaced by fashion photography in the 1960s and 1970s. Many of these would go on to work for Silhouette, defining its artistic style.

A strong do it yourself culture exists around clothing. Homemade clothing and knowledge of textile work is common. Many magazines and media outlets publish patterns for outfits, and customisation of bought clothing is widespread.

Gender

Detail from a sewing pattern published in a Gylian clothing magazine, 1987.

Gylian clothing is unisex. However, during the Golden Revolution's shift of attitudes towards gender, the practice of reclaiming and socialising notions of elegance and luxury have produced a trend towards androgynous appearances. The non-gendered prevalence of female-indentified clothing such as dresses and skirts is due to their suitability for the country's climate.

Illustrations for Gylian clothing always use character models that are androgynous or ambiguous in appearance, reinforcing the principle that clothes are suitable for all to wear.

Journalism

Clothes journalism in Gylias is based on a combination of consumer protection-oriented unbiased product testing and commentary reminiscent of arts criticism. Common hallmarks include technical details, attempts to describe the item being reviewed as objectively as possible, and often literary-influenced passages that attempt to convey the feelings produced, with clear demarcations between each section.