The Gyaru Subculture: Origins, Features, and Identity
This paper examines the Gyaru subculture of Japan, tracing its origins from a 1970s Wrangler Jeans sub-brand through its emergence as a distinct youth subculture. The paper argues that Gyaru qualifies as a genuine subculture rather than a mere fashion trend by demonstrating how its members actively reject core Japanese cultural norms, particularly the bihaku ideal of feminine whiteness. It details the defining aesthetic features of Gyaru fashion and make-up, catalogues the numerous subcategories within the subculture — ranging from KoGyaru to Tsuyome Banba — and briefly considers the future trajectory of the movement in the context of ongoing globalization.
- Introduction: Globalization, cultural change, and Gyaru overview
- Development of the Gyaru Subculture: Origins in 1970s fashion branding and pop culture
- Gyaru: Subculture or Trend?: Definitional argument defending Gyaru as subculture
- Features and Characteristics: Aesthetic traits shared across all Gyaru members
- Gyaru Subcategories: Detailed breakdown of all Gyaru subcategory types
- Future of the Gyaru Subculture: Projected growth through globalization and internet
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What makes this paper effective
- It grounds the Gyaru subculture in a clear definitional argument, using the Merriam-Webster definition of "subculture" to systematically defend Gyaru's classification against skeptics who dismiss it as mere trend-following.
- The paper provides a well-organized taxonomy of Gyaru subcategories, giving concrete, specific details for each type rather than relying on vague generalizations.
- It situates a localized youth phenomenon within a broader global context — connecting Gyaru's rise and future to globalization and economic liberalization — lending analytical weight to what could otherwise read as simple description.
Key academic technique demonstrated
The paper uses definitional argumentation effectively: by anchoring the central claim ("Gyaru is a subculture, not a trend") to an authoritative dictionary definition and then applying it directly to cultural evidence — specifically the rejection of the bihaku ideal — the author demonstrates how to construct a classification argument. This technique is useful whenever a paper must justify placing a subject within a contested or debated category.
Structure breakdown
The paper opens with a global context introduction before narrowing to a historical origin section. It then pivots to a definitional argument section that defends its central thesis, followed by two descriptive sections — one on general aesthetic features and one cataloguing subcategories in detail. It closes with a brief forward-looking section on the subculture's prospects. This funnel-then-expand structure moves efficiently from argument to evidence to application.
Introduction
One of the widely recognized impacts of globalization is that it causes changes and modifications to the values, norms, and traditions of existing cultures, resulting in the formation of new subcultures or the complete loss of cultural identity (Marshall & Raymond, 2015). The Gyaru subculture in Japan offers a perfect example of a subculture formed in this manner. "Gyaru" is the Japanese rendering of the English word "girl" — it is a subculture of young girls and women who, like most women elsewhere in the world, are preoccupied with achieving an image of "ideal" beauty imposed upon them by the media. Unlike other women, however, the Gyaru go to extreme lengths to pursue these standards of beauty: they follow a distinct style of dress and style their hair and make-up in specific ways. The most common features shared across the membership are huge heels, short skirts, and dramatically large-looking eyes (Marshall & Raymond, 2015).
Development of the Gyaru Subculture
The name "Gyaru" originated from a sub-brand of Wrangler Jeans called "gurls" in the 1970s. The jeans were marketed under the slogan "I can't live without men" and were targeted at fashion-conscious teenage girls and women in their early twenties (Hedy Magazine, 2015). In 1979, Sawada Kenji released a song titled "Oh Gyaru," which featured young modern girls dressed in the same brand of jeans. The word "Gyaru" was subsequently integrated into teens' vocabulary and was used to refer to happy, modern girls in their teens and early twenties, as well as older women who lacked interest in marriage and conventional work roles (Hedy Magazine, 2015).
Gyaru: Subculture or Trend?
Many people have questioned whether Gyaru qualifies as a subculture, with some arguing that it is simply a fashion trend whose members are merely keeping up with the latest styles. The Merriam-Webster dictionary defines a subculture as a group within a larger culture whose beliefs and behaviors differ from those of the broader society. One of the core elements of Japanese culture is the bihaku — the belief that women ought to remain beautifully white in complexion. The Gyaru, however, are well known for bleaching their hair and tanning their skin, both of which directly contradict the bihaku ideal and are widely regarded as acts of rebellion against the ojousama (traditional "young lady" roles) and conventional beauty standards. This alone is sufficient to qualify the Gyaru as a genuine subculture rather than a passing trend.
Features and Characteristics
Members of the Gyaru subculture are characterized by dramatic make-up, highly decorated nails, and heavily dyed or bleached hair — mainly ranging in shade from blonde to dark brown. Their make-up consists primarily of fake eyelashes and dark eyeliner, intended to give the face a slimming effect and make the eyes appear larger. The specific clothing worn by Gyaru members is largely determined by the particular Gyaru subcategory to which an individual belongs, as detailed in the section below.
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