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[[File:Gylias-clothing.jpg|300px|thumb|right|Two Gylian women in Náras, 1964]]
[[File:Gylias-clothing.jpg|200px|thumb|right|Two Gylian women in Nyretak, 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 {{wpl|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 {{wpl|dress code}}s and {{wpl|nudity taboo}}s, and emphasis on adapting items to individual preferences.
[[Gylias]] has a thriving '''clothing industry''' and permissive social attitudes towards clothing. Common traits of the industry include a fusion of utilitarianism and aesthetic quality, emphasis on personalisation, and a lack of {{wpl|dress code}}s and {{wpl|nudity taboo}}s.


Clothesmaking is one of the strongest industries of the [[Economy of Gylias|Gylian economy]], and clothing remains an important part of the [[Culture of Gylias|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 {{wpl|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.
As well as one of the strongest industries of the [[Economy of Gylias|Gylian economy]], clothing is an important part of [[Culture of Gylias|Gylian culture]] and social life. Gylian clothing styles have been influenced by [[Geography of Gylias#Climate|climate]], the impact of the [[Golden Revolution]], and international trends. Gylians have a reputation in [[Tyran]] for good and eccentric tastes in clothing.


The two leading organisations governing the Gylian clothing industry are the [[Association of Clothesmakers and Textile Workers]] — a {{wpl|trade union}} representing clothing industry workers affiliated with the [[General Council of Workers' Unions and Associations]] — and the [[Gylian Clothing Federation]], a {{wpl|trade group}} and governing body affiliated with the [[National Cooperative Confederation]]. The GCF is responsible for coordination within the clothing industry, {{wpl|quality control|quality standards and control}}, promoting it at home and abroad, and organising specialised education in the field.
==History==
===Emergence===
Clothesmaking has existed as an industry since the [[Liúşai League]], but it lacked its current importance during that period.
 
The [[Colonisation War|conquest]] of the League by [[Xevden]] had a disastrous impact on clothesmaking, which entered a long period of stagnation. It did not receive significant benefits from the {{wpl|Industrial Revolution}} and transition to {{wpl|capitalism}} in the 19th century.
 
In Xevden, clothing mainly had the role of signalling social status. The contrast between the lavish clothing of the elite and the modest, ragged appearance of the poor reflected pervasive {{wpl|economic inequality}}.


==History==
During the [[Gylian ascendancy]], clothing was used as a shorthand symbol for grievances about Xevden. Extravagant clothing came to be associated with oppression and injustice, and was largely viewed with disdain. Nevertheless, a debate occurred among Gylians even at this stage over whether it was possible to reclaim clothing from these associations.
===Emergence of the clothing industry===
 
The clothing industry did not benefit notably from [[Xevden]]ite industrialisation in the 19th century. Most of the clothes and {{wpl|luxury good}}s 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 {{wpl|economic inequality}} of the country, which was correlated with ethnic divisions between the Xevdenite elite and the impoverished majority.
===Alscia===
[[File:Gylias-clothing6.jpg|thumb|right|100px|Clothing [[Advertising in Gylias|advert]] from an Alscian newspaper, 1912]]
The textile industry first established itself in [[Alscia]]. As a province of the [[Cacertian Empire]], clothing was used to reflect the province's [[Alscia#The "hurried province"|accelerated development]] and greater freedoms.
 
Widespread access to clothing helped replace disdain with a favourable attitude. Alscian fashion was shaped by the province's synthesis of [[Miranian Gylians|Miranian]], French, and Italian ideals of elegance. Contemporary trends from [[Kirisaki]], [[Akashi]], [[Cacerta]], and [[Megelan]] became significant influences.
 
Clothing attained an important presence in culture and daily life for the first time. Governor [[Donatella Rossetti]] and [[Donatella Rossetti government|several of her female ministers]] used distinctive appearances to complement their policies, earning the nickname "coats and hats". The [[Gender and sexuality in Gylias|blurring of gender roles]] was reflected in fashion through the popularity of [[Alscia#Culture|androgyny chic]].


During the [[Gylian ascendancy]], clothing became a symbol of grievances about ethnic discrimination, authoritarianism, and economic exploitation. Gylian artists produced many {{wpl|social realism|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.
===Free Territories===
The [[Free Territories (Gylias)|Free Territories]] were instrumental in shaping Gylian clothesmaking, albeit in an indirect role. They were established on [[Anarchism in Gylias|anarchist]] principles, and built a large network of supply distribution, implementing {{wpl|rationing}} to meet basic necessities. During the [[Liberation War (Gylias)|Liberation War]], clothing became frugal and versatile by necessity.


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.
Clothes rationing was based on materials and administered through a points system. Initially, various [[Communal assemblies (Gylias)|communal assemblies]] and {{wpl|cooperative}}s devised their own methods and guidelines to tailor production to availability. Gradually, this evolved into a system of voluntary self-regulation that aimed to preserve a minimum of quality standards while conserving materials.


The constitution of the [[Free Territories (Gylias)|Free Territories]] during the [[Liberation War (Gylias)|Liberation War]] played a significant, yet indirect, role in shaping Gylian clothesmaking. The Free Territories experimented with different {{wpl|anarchist economics}} models, and built a large network of supply distribution, implementing {{wpl|rationing}} to meet basic necessities. Wartime clothing became frugal and versatile by necessity, as materials were limited and had to be conserved.
The result of this system came to be known as ''vêtements règlementaires'' ({{wpl|French language|French}} for "regulation clothes") or ''vêtements utilitaires'' ("utility clothing"). All-purpose and one-piece garments became popular, such as {{wpl|shirtdress}}es and {{wpl|coatdress}}es. {{wpl|Skirt}}s and {{wpl|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.


Clothes rationing was carried out on a points system, based on materials. In the initial stage, various [[Communal assemblies (Gylias)|communal assemblies]] and {{wpl|cooperative}}s 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 [[Free Territories (Gylias)#The General Council|General Council of the Free Territories]], aiming to preserve minimum quality standards while conserving materials.
Despite initial fears, rationing incentivised clothesmakers to make do with limited materials, and some rose to the challenge of maintaining style within regulations with remarkable inventiveness. Many Gylians learned textile work in order to reuse, repair and customise their clothes, advised by campaigns and local publications. Rationing unexpectedly aided the Free Territories' {{wpl|social revolution}}: a shift towards {{wpl|unisex clothing}} took place, as various items lost gender connotations and came to be worn by everyone.


The clothes and styles that developed from the system came to be known as ''vêtements règlementaires'' ({{wpl|French language|French}} for "regulation clothes") or ''vêtements utilitaires'' ("utility clothing"). All-purpose and one-piece garments became popular, such as {{wpl|shirtdress}}es, {{wpl|coatdress}}es, {{wpl|boilersuit}}s, and {{wpl|siren suit}}s. {{wpl|Skirt}}s and {{wpl|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.
A spirit of stylish frugality came to characterise Gylian clothing during the period, with {{wpl|fashion accessory|fashion accessories}} and {{wpl|headwear}} favoured for personal touches. The length of the Liberation War helped entrench public tastes.


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' {{wpl|social revolution}}, as it caused a shift towards {{wpl|unisex clothing}}, in line with the efforts to [[Gender and sexuality in Gylias|abolish]] strict {{wpl|gender binarism}}. Formerly masculine- or feminine-perceived clothing lost gender connotations and came to be worn by everyone. {{wpl|fashion accessory|Fashion accessories}} and {{wpl|headwear}} were favoured for personal touches.
===Gylias===
Clothing prospered as an industry since the transition from the Free Territories to Gylias. The end of rationing in 1961, [[Economy of Gylias#Independence|radical economic reform]], resumption of trade and entrance into the [[Common Sphere]] significantly benefited access to clothing.


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.
The [[Economy of Gylias#Economic miracle|economic boom]] that coincided with the [[Golden Revolution]] shaped clothesmaking. The last vestiges of reticence towards extravagant clothing were removed through cultural {{wpl|reappropriation}}. The spread of an ideal of [[Culture of Gylias#Luxury|egalitarian elegance]] allowed universal access to what had been exclusive {{wpl|luxury good}}s.


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.
The success of clothesmaker [[Esine Nærzyne]] and "clothes ideologist" [[Ðaina Levysti]] proved fundamental for the new industry. Esine's design philosophy synthesised the distinctive traits of Gylian clothing into a unified approach. Her work in designing uniforms for various public institutions helped impart a glamorous and exciting image to [[Gylian administrative agencies|public service]].


===Independence===
Ðaina advocated voluntarily maintaining restrictions similar to those that had created ''vêtements règlementaires''. Her 1960 manifesto ''The Empire of Elegance'' summed up the ideal of [[Culture of Gylias#Luxury|socialised luxury]]. Its humorous suggestions to accompany radical social change with preserving neatly-dressed "classic" appearances unexpectedly struck a chord with the public.
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 [[National Obligation period|difficult conditions]]. Rationing continued until 1961, and clothing remained subject to its regulations. The end of the war, completion of the shift towards {{wpl|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.
Notable figures such as [[Rin Tōsaka]], [[Sakura Tōsaka]], [[Tomoko Tōsaka]], [[Aliska Géza]], [[Julie Legrand]], [[Erika Ďileş]], and [[Marguerite Tailler]] and the [[Revolutionary Communications Office]] helped set an example. The combination of political radicalism and sophisticated presentation came to be widely accepted, and became a popular emblem of revolutionary exuberance.


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 {{wpl|social ownership|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 {{wpl|champagne socialist}}s".
Socialised luxury had a notable impact on the public sphere. [[Gylian administrative agencies#Public organisations|Public organisations]] adopted stylish uniforms for their workers, giving the public sector an image of glamour and patriotic service that became part of the [[Gylian consensus]]. Certain service occupations were preserved due to their contribution to sociality and quality of life, including [[elevator attendant]]s, [[tray vendor]]s, {{wpl|tea lady|tea servers}}, {{wpl|filling station attendant}}s, telephone operators, and {{wpl|taxi dancer|paid dance partners}}.


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


====1960s—1970s====
====1960s–1970s====
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| footer = Typical day-to-day Gylian outerwear of the 1960s.<br>'''Left''': A [[Georgette (term)|georgette]] reads a newspaper in Velouria, 1964.<br>'''Right''': A student reading on the steps of [[Anca Déuréy University]], Narsiad, 1966.
| footer = Typical day-to-day Gylian outerwear of the 1960s.<br>'''Left''': A [[Georgette (term)|georgette]] reads a newspaper in Velouria, 1964.<br>'''Right''': A student reading on the steps of [[Anca Déuréy University]], Narsiad, 1966.
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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, {{wpl|appliqué}} or {{wpl|screen printing|screen printed}} designs were used to add touches of eccentricity to otherwise sophisticated looks. {{wpl|Dress code}}s and distinctions between formal and informal clothing were abolished.
The clothing industry came to largely follow Esine's philosophy and example in the 1960s. Clothesmakers relied on personalisation over mass prodution, and aimed to produce clothing that was aesthetically pleasing, functional, and easy to customise. A spirit of frivolity and experimentation became the norm, with touches of eccentricity applied to otherwise sophisticated looks.
 
The ideals of socialised luxury and understated glamour propelled certain styles to great popularity. Significant among these were the [[Ðaina Levysti#"Levystile"|Levystile]] traits advocated by Ðaina, which influenced the appearance of [[Georgette (term)|georgettes]], [[Merchants (Gylias)|merchants]], and [[hétaïre]]s.
 
Certain subcultures looked to 19th century fashion and Alscia as an inspiration, fashioning more eccentric and old-fashioned outfits. Gylias' first [[President of Gylias|President]] [[Reda Kazan]] was notably supportive of this trend.


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 [[Ðaina Levysti#"Levystile"|Levystile]] tenets presented in Ðaina Levysti's writings and illustrations became popular. They influenced the appearance of [[Georgette (term)|georgettes]] a subculture characterised by tongue-in-cheek embrace of conspicuous leisure and passive consumerism —, [[Merchants (Gylias)|merchants]] — whose refined image helped cement their place in Gylian society and distanced them from the negative reputations of {{wpl|peddler}}s and {{wpl|hawker (trade)|hawkers}} —, and especially [[hétaïre]]s — whose profession reuniting entertainment, hosting, and sex work relied heavily on cultivating an image of old-fashioned elegance.  
The success of [[The Beaties]], [[The Watts]], [[The Wells]], and [[The Dandys]], 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. The [[Drugs in Gylias#Independence|"psychedelic revolution"]] reached clothing in the late 1960s.


Other subcultures fashioned more eccentric outfits and looked towards 19th century fashion such as {{wpl|dandy|dandies}} and {{wpl|redingote}}s for inspiration; the appearance of Gylias' first [[President of Gylias|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 [[Seal of Gylias|Gylian seal]]. The growth of {{wpl|psychedelia}} in the late 1960s created a trend towards psychedelic prints and mismatched patterns.
Clothing became a symbol of the liberated and colourful society engendered by the Golden Revolution. [[Gauchic]] artists often depicted well-dressed persons, providing inspiration and influence for clothesmakers. [[Orgone film]]s and the [[demopolis|demopolitan]] movement celebrated glamorous young Gylians and their lives in the cities. Clothing found a niche in [[Pornography in Gylias|Gylian pornography]], which explored ways to visually eroticise clothing and dressing.


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 film]]s and the [[demopolis|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 [[Pornography in Gylias|Gylian pornography]], with various filmmakers and actors exploring ways to visually eroticise the act of getting dressed and wearing elegant clothes.
[[Saorlaith Ní Curnín]] waged an influential personal campaign to "beautify" public life, pushing film and television productions to ensure their lead actors at least were well-dressed, and for publications to similarly select only well-dressed images of celebrities to publish, with the aim of raising the average clothing standards of Gylians as a whole. Her efforts were aided by similar preferences among the leading figures of [[Gylian Television]] like [[Eija Nylund]], [[Estelle Parker]], and [[Cecilia Parker]].


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. [[Organisation pour l'maintenance d'français comme langue gylienne|OMFLG]] founder [[Françoise Chatelain]] specifically used the {{wpl|Christian Dior SE#"New Look"|"New Look"}} as her public image to complement her efforts to promote {{wpl|French language}} and {{wpl|French culture|culture}} in Gylias, to notable success. Other clothing items such as the combination of thin {{wpl|trench coat}}s with {{wpl|beret}}s also gathered a following due to their identification with French notions of sophistication.
Certain foreign fashion trends gained acceptance after being adapted to prevailing tastes. The ''[[francité]]'' movement cultivated an appearance of {{wpl|French fashion}} to complement its promotion of French identity in Gylias. Other clothing items such as the combination of thin {{wpl|trench coat}}s with {{wpl|beret}}s also gathered a following due to their identification with French notions of sophistication.


[[File:LPÉ-issue89.jpg|300px|thumb|right|The cover of ''[[L'Petit Écho]]'', issue 89, 18 May 1962. The ''Écho'' and ''[[Silhouette (magazine)|Silhouette]]'' were important influences on Gylian ideals of egalitarian and customised glamour.]]
[[File:LPÉ-issue1962.jpg|200px|thumb|right|Cover of ''[[L'Petit Écho]]'' issue from 1962. ''Écho'' and ''[[Silhouette (magazine)|Silhouette]]'' were important influences on Gylian ideals of [[Culture of Gylias#Luxury|egalitarian and customised glamour]].]]
The {{wpl|do it yourself}} philosophy engedered by the Free Territories continued to be promoted by campaigns, magazines — including ''[[L'Petit Écho]]'', ''[[Silhouette (magazine)|Silhouette]]'', ''[[Teen (magazine)|teen]]'' —, and various advice books, pamphlets, and informal meetings. It was observed that Gylian customers manifested little {{wpl|brand loyalty}} — they bought their clothes from various clothesmakers and customised them according to their own tastes.
The {{wpl|do it yourself}} philosophy engedered by the Free Territories continued to be promoted by campaigns, magazines — including ''[[L'Petit Écho]]'', ''[[Silhouette (magazine)|Silhouette]]'', ''[[Teen (magazine)|teen]]'' —, and various advice books, pamphlets, and informal meetings. Gylian customers by and large bought their clothes from various companies and customised them to their tastes.


With additional exposure from the Gylian Invasion, clothing became a significant export. The low exchange rate of the [[Gylian þaler|þaler]] made exports cheap, and the overall aesthetic of Gylian clothing attracted foreign customers who sought ''{{wpl|haute couture}}'' at low prices.
With additional exposure from the Gylian Invasion, clothing became a significant export. The low exchange rate of the [[Gylian þaler|þaler]] made exports cheap, and Gylian aesthetics attracted foreign customers who sought ''{{wpl|haute couture}}'' at affordable prices.


====1980s====
====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.
The crises of the [[wretched decade]] affected clothing. The loss of the Golden Revolution's exuberant atmosphere led to a modest turn in designs.


Contemporary {{wpl|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 {{wpl|new wave music|new wave}}, {{wpl|New Romantic}}, and {{wpl|cyberpunk}} movements also exerted a certain influence.
Various trends gained a degree of popularity in the 1980s, some in reaction to the wretched decade, such as the flamboyance of {{wpl|new wave music|new wave}}, {{wpl|New Romantic}}, and {{wpl|cyberpunk}}.


[[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 {{wpl|white-collar worker}}s, including bright shirts or blouses, dark suits, and {{wpl|bow}}s and {{wpl|waistcoat}}s. 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".
The designer [[Kaede Nakano]] began her rise to fame in the decade. She created a style based on the appearance of feminine {{wpl|white-collar worker}}s, including bright shirts or blouses, dark suits, and {{wpl|bow}}s and {{wpl|waistcoat}}s. Her company initially built a following among [[Miranian Gylians]], coming to be jokingly described as their "national uniform".


====1990s—present====
====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 {{wpl|sustainable clothing}}. {{wpl|Textile recycling}} also assumed greater importance.
Economic recovery and renewed national optimism rejuvenated the clothing industry in the 1990s, heralding a return to more flamboyant experimentation.


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.
[[Aishwarya Devi]]'s work in the [[Mathilde Veira government]] to restrain consumption and reduce waste caused the industry to devote more attention to exports, and cemented the predominance of {{wpl|sustainable clothing}}. {{wpl|Textile recycling}} also assumed greater importance.


[[Mami Nomura]], [[Stella Star]]'s lead singer, also became a style icon during the decade, helping popularise a trend towards {{wpl|retro style}} and vintage clothing. Her versatile and diverse wardrobe contrasted with pop stars with a more constant appearance, like [[Asuka (musician)|Asuka]], [[Misato Katsuragi]], [[Annetta Tirone]], and [[The Chrysalides]].
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, Kaede Nakano designs grew in popularity nationally, and businesswomen such as [[Agathe Sanna]], [[Marie-Agnès Delaunay]], [[Saira Telyn]], and [[Kanna Miyashita]] became style icons.


The growth of the [[internet in Gylias]] led to a controlled, gradual shift towards {{wpl|online retail}} by clothesmakers and retailers.  
[[Maki Nomura]], [[Stella Star]]'s lead singer, also became a style icon during the decade, helping popularise a trend towards {{wpl|retro style}} and vintage clothing. Her versatile and diverse wardrobe contrasted with pop stars with a more constant appearance, like [[Asuka (musician)|Asuka]], [[Misato Katsuragi]], [[Elena Tessari]], and [[The Chrysalides]].
 
Another trend to emerge in this period was "levieillestyle", a variant of [[Ðaina Levysti#"Levystile"|Levystile]] that emphasises highly elaborate dressing to cultivate an elegant appearance in old age, and frequent use of black–white contrast. Notable practitioners and popularises included [[Carmen Dell'Orefice]], [[Esua Nadel]], [[Electra Galanou]], [[Liisa Salmela]], and [[Jane Birkin]].
 
The growth of the [[internet in Gylias]] led to a controlled, gradual shift towards {{wpl|online retail}} by clothesmakers and retailers.


==Characteristics==
==Characteristics==
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| footer = Clothing illustrations from ''[[Silhouette (magazine)|Silhouette]]'', 1982–1983.
| footer = Clothing illustrations from ''[[Silhouette (magazine)|Silhouette]]'', 1982-1983.
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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.
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 {{wpl|fashion}} industry based on cyclical changes of style or practices such as {{wpl|fashion week}}s 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'').
While Gylias has a strong clothing industry, it does not have a {{wpl|fashion}} industry based on cyclical changes of style or practices such as {{wpl|fashion week}}s and runways. The expectation is that individuals will have their clothes tailored or customised to their preferences.


A distinctive trait of the clothing industry is the preference for {{wpl|fashion illustration|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 {{wpl|fashion photography}} in the 1960s and 1970s. Many of these would go on to work for ''[[Silhouette (magazine)|Silhouette]]'', defining its artistic style.
The industry is known for preferring {{wpl|fashion illustration|illustration of clothes}} over photography. This is helped by the [[Art of Gylias#Contemporary Gylias|widespread popularity of illustration]], its close ties to the industry, and the enduring influence of [[gauchic]]. Illustration is seen as showing proposals that can be modified, while photography is perceived as normative.


A strong {{wpl|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.
A strong {{wpl|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===
===Gender===
[[File:Gylias-clothing1.jpg|300px|thumb|right|Detail from a sewing pattern published in a Gylian clothing magazine, 1987.]]
[[File:Gylias-clothing1.jpg|200px|thumb|right|Detail from a sewing pattern published in a Gylian clothing magazine, 1987.]]
Gylian clothing is {{wpl|unisex clothing|unisex}}. However, during the Golden Revolution's shift of [[Gender and sexuality in Gylias|attitudes towards gender]], the practice of reclaiming and socialising notions of elegance and luxury have produced a trend towards {{wpl|androgyny|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.
Gylian clothing is {{wpl|unisex clothing|unisex}}. However, during the Golden Revolution's shift of [[Gender and sexuality in Gylias|attitudes towards gender]], the practice of reclaiming and socialising notions of elegance and luxury have produced a trend towards {{wpl|androgyny|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.


Line 109: Line 120:
===Journalism===
===Journalism===
Clothes journalism in Gylias is based on a combination of {{wpl|consumer protection}}-oriented unbiased product testing and commentary reminiscent of {{wpl|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.
Clothes journalism in Gylias is based on a combination of {{wpl|consumer protection}}-oriented unbiased product testing and commentary reminiscent of {{wpl|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.
==Organisation==
There are two main organisations governing clothesmaking:
* The Association of Clothesmakers and Textile Workers — a {{wpl|trade union}} representing clothing industry workers affiliated with the [[General Council of Workers' Unions and Associations]].
* The Gylian Clothing Federation — a {{wpl|trade group}} and governing body affiliated with the [[National Cooperative Confederation]].
The GCF is responsible for coordination within the clothing industry, {{wpl|quality control|quality standards and control}}, promoting it at home and abroad, and organising specialised education in the field.


{{Gylias Navbox}}
{{Gylias Navbox}}


[[Category:Gylias]]
[[Category:Culture of Gylias]]

Latest revision as of 15:02, 12 January 2023

Two Gylian women in Nyretak, 1964

Gylias has a thriving clothing industry and permissive social attitudes towards clothing. Common traits of the industry include a fusion of utilitarianism and aesthetic quality, emphasis on personalisation, and a lack of dress codes and nudity taboos.

As well as one of the strongest industries of the Gylian economy, clothing is an important part of Gylian culture and social life. Gylian clothing styles have been influenced by climate, the impact of the Golden Revolution, and international trends. Gylians have a reputation in Tyran for good and eccentric tastes in clothing.

History

Emergence

Clothesmaking has existed as an industry since the Liúşai League, but it lacked its current importance during that period.

The conquest of the League by Xevden had a disastrous impact on clothesmaking, which entered a long period of stagnation. It did not receive significant benefits from the Industrial Revolution and transition to capitalism in the 19th century.

In Xevden, clothing mainly had the role of signalling social status. The contrast between the lavish clothing of the elite and the modest, ragged appearance of the poor reflected pervasive economic inequality.

During the Gylian ascendancy, clothing was used as a shorthand symbol for grievances about Xevden. Extravagant clothing came to be associated with oppression and injustice, and was largely viewed with disdain. Nevertheless, a debate occurred among Gylians even at this stage over whether it was possible to reclaim clothing from these associations.

Alscia

Clothing advert from an Alscian newspaper, 1912

The textile industry first established itself in Alscia. As a province of the Cacertian Empire, clothing was used to reflect the province's accelerated development and greater freedoms.

Widespread access to clothing helped replace disdain with a favourable attitude. Alscian fashion was shaped by the province's synthesis of Miranian, French, and Italian ideals of elegance. Contemporary trends from Kirisaki, Akashi, Cacerta, and Megelan became significant influences.

Clothing attained an important presence in culture and daily life for the first time. Governor Donatella Rossetti and several of her female ministers used distinctive appearances to complement their policies, earning the nickname "coats and hats". The blurring of gender roles was reflected in fashion through the popularity of androgyny chic.

Free Territories

The Free Territories were instrumental in shaping Gylian clothesmaking, albeit in an indirect role. They were established on anarchist principles, and built a large network of supply distribution, implementing rationing to meet basic necessities. During the Liberation War, clothing became frugal and versatile by necessity.

Clothes rationing was based on materials and administered through a points system. Initially, various communal assemblies and cooperatives devised their own methods and guidelines to tailor production to availability. Gradually, this evolved into a system of voluntary self-regulation that aimed to preserve a minimum of quality standards while conserving materials.

The result of this 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 and coatdresses. 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 initial fears, rationing incentivised clothesmakers to make do with limited materials, and some rose to the challenge of maintaining style within regulations with remarkable inventiveness. Many Gylians learned textile work in order to reuse, repair and customise their clothes, advised by campaigns and local publications. Rationing unexpectedly aided the Free Territories' social revolution: a shift towards unisex clothing took place, as various items lost gender connotations and came to be worn by everyone.

A spirit of stylish frugality came to characterise Gylian clothing during the period, with fashion accessories and headwear favoured for personal touches. The length of the Liberation War helped entrench public tastes.

Gylias

Clothing prospered as an industry since the transition from the Free Territories to Gylias. The end of rationing in 1961, radical economic reform, resumption of trade and entrance into the Common Sphere significantly benefited access to clothing.

The economic boom that coincided with the Golden Revolution shaped clothesmaking. The last vestiges of reticence towards extravagant clothing were removed through cultural reappropriation. The spread of an ideal of egalitarian elegance allowed universal access to what had been exclusive luxury goods.

The success of clothesmaker Esine Nærzyne and "clothes ideologist" Ðaina Levysti proved fundamental for the new industry. Esine's design philosophy synthesised the distinctive traits of Gylian clothing into a unified approach. Her work in designing uniforms for various public institutions helped impart a glamorous and exciting image to public service.

Ðaina advocated voluntarily maintaining restrictions similar to those that had created vêtements règlementaires. Her 1960 manifesto The Empire of Elegance summed up the ideal of socialised luxury. Its humorous suggestions to accompany radical social change with preserving neatly-dressed "classic" appearances unexpectedly struck a chord with the public.

Notable figures such as Rin Tōsaka, Sakura Tōsaka, Tomoko Tōsaka, Aliska Géza, Julie Legrand, Erika Ďileş, and Marguerite Tailler and the Revolutionary Communications Office helped set an example. The combination of political radicalism and sophisticated presentation came to be widely accepted, and became a popular emblem of revolutionary exuberance.

Socialised luxury had a notable impact on the public sphere. Public organisations adopted stylish uniforms for their workers, giving the public sector an image of glamour and patriotic service that became part of the Gylian consensus. Certain service occupations were preserved due to their contribution to sociality and quality of life, including elevator attendants, tray vendors, tea servers, filling station attendants, telephone operators, and paid dance partners.

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 clothing industry came to largely follow Esine's philosophy and example in the 1960s. Clothesmakers relied on personalisation over mass prodution, and aimed to produce clothing that was aesthetically pleasing, functional, and easy to customise. A spirit of frivolity and experimentation became the norm, with touches of eccentricity applied to otherwise sophisticated looks.

The ideals of socialised luxury and understated glamour propelled certain styles to great popularity. Significant among these were the Levystile traits advocated by Ðaina, which influenced the appearance of georgettes, merchants, and hétaïres.

Certain subcultures looked to 19th century fashion and Alscia as an inspiration, fashioning more eccentric and old-fashioned outfits. Gylias' first President Reda Kazan was notably supportive of this trend.

The success of The Beaties, The Watts, The Wells, and The Dandys, 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. The "psychedelic revolution" reached clothing in the late 1960s.

Clothing became a symbol of the liberated and colourful society engendered by the Golden Revolution. 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. Clothing found a niche in Gylian pornography, which explored ways to visually eroticise clothing and dressing.

Saorlaith Ní Curnín waged an influential personal campaign to "beautify" public life, pushing film and television productions to ensure their lead actors at least were well-dressed, and for publications to similarly select only well-dressed images of celebrities to publish, with the aim of raising the average clothing standards of Gylians as a whole. Her efforts were aided by similar preferences among the leading figures of Gylian Television like Eija Nylund, Estelle Parker, and Cecilia Parker.

Certain foreign fashion trends gained acceptance after being adapted to prevailing tastes. The francité movement cultivated an appearance of French fashion to complement its promotion of French identity in Gylias. 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.

Cover of L'Petit Écho issue from 1962. 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. Gylian customers by and large bought their clothes from various companies and customised them to their tastes.

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

1980s

The crises of the wretched decade affected clothing. The loss of the Golden Revolution's exuberant atmosphere led to a modest turn in designs.

Various trends gained a degree of popularity in the 1980s, some in reaction to the wretched decade, such as the flamboyance of new wave, New Romantic, and cyberpunk.

The designer Kaede Nakano began her rise to fame in the decade. She created a style based on the appearance of feminine white-collar workers, including bright shirts or blouses, dark suits, and bows and waistcoats. Her company initially built a following among Miranian Gylians, coming to be jokingly described as their "national uniform".

1990s–present

Economic recovery and renewed national optimism rejuvenated the clothing industry in the 1990s, heralding a return to more flamboyant experimentation.

Aishwarya Devi's work in the Mathilde Veira government to restrain consumption and reduce waste 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, Kaede Nakano designs grew in popularity nationally, and businesswomen such as Agathe Sanna, Marie-Agnès Delaunay, Saira Telyn, and Kanna Miyashita became style icons.

Maki 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, Elena Tessari, and The Chrysalides.

Another trend to emerge in this period was "levieillestyle", a variant of Levystile that emphasises highly elaborate dressing to cultivate an elegant appearance in old age, and frequent use of black–white contrast. Notable practitioners and popularises included Carmen Dell'Orefice, Esua Nadel, Electra Galanou, Liisa Salmela, and Jane Birkin.

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 or customised to their preferences.

The industry is known for preferring illustration of clothes over photography. This is helped by the widespread popularity of illustration, its close ties to the industry, and the enduring influence of gauchic. Illustration is seen as showing proposals that can be modified, while photography is perceived as normative.

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.

Organisation

There are two main organisations governing clothesmaking:

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.