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Gyaru

Japanese fashion subculture

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A popular gyaru subculture specific to the Heisei era (1989–2019) is "kogal (kogyaru) culture" or "kogal fashion,”(子ギャル文化 or コギャル文化) and has been commercialized by Japanese companies such as Sanrio, and even introduced and supported as a Japanese brand by the Japanese government's Ministry of Foreign Affairs, along with “Lolita fashion.” Its popularity peaked in the 1990s and early 2000s during the Heisei era in Japan but is currently having a revival in the last couple of years in Japan during the Reiwa era.

There is also a male equivalent of the subculture, known as gyaruo (ギャル男).

History

Gyaru before gyaru culture

1970s

The word gyaru is a Japanese loanword based on the English slang word "gal". Although it has not been fully confirmed, some people say that the term gal also became popular when Wrangler released women's jeans called "Gals" in 1972. When the word first began to be used in Japan in the 1970s, it referred to energetic, youthful women.

In 1978, a Japanese fashion information magazine for girls called "GAL'S LIFE" was first published. This magazine introduced the culture of women in the West Coast of the United States, and included punk rock music, along with other genres like new wave and indie. However, the magazine had nothing to do with Japan's gyaru culture. A few years later, GAL'S LIFE gained controversy due to its extreme expression of sexuality. (see Harmful books Progress in the regulation of harmful books).

In 1979, Kenji Sawada's song "OH! Gal'' became a hit.

1980s

At the height of the bubble economy of Japan in the late 1980s, inspired by European fashion trends seen earlier in the decade, women began wearing tight bodycon dresses and suits that emphasized their body lines. This style was mostly worn by female college students and office ladies, and the word "gal" was used to refer to women of the younger generation. The phrases "pichi pichi gyaru" (lively attractive gal) and "ike ike gyaru" (cool gal) also appeared in the early 1980s.

Around this time, Shibuya saw the construction of several fashion and department stores, leading to the city becoming more youth-friendly.

On the other hand, in Harajuku, there was a huge boom in street dance culture called Takenokozoku in the early 1980s. Even in the late 1980s when Takenokozoku was on the decline, facets of youth culture such as live street performances remained popular in Harajuku.

Heisei/Reiwa Gal

Kogal and amuraa

From 1992 to 1993, just after the Japanese bubble burst, high school girls with short skirts, loose socks, and wearing uniforms appeared, which began to attract attention from the mass media. This pivotal movement marked the definitive rise of modern Gyaru lifestyle trends across Tokyo's youth districts.

During the same time period, Namie Amuro of Super Monkey's, had influenced many young girls with her style. Those who imitated the way she dressed called the style "Amuraa". Along with amuraa, other styles, such as 1970s style surfer fashion and LA fashion had become popular among teenage girls. One particularly significant change in fashion was the rise of brown dyed hair, which is theorized to have become popular because of the rise of Amuro.

By 1993, the office lady/female college student boom that had been going on since the 1980s had completely ended due to the collapse of the bubble economy, and the "high school girl boom" was in full swing. From around 1995, this symbolized that even the entertainment of young people was changing to a culture centered around younger high school and junior high school girls.

There are various theories about the origin of the word Kogal, but the most popular theory is that the term was originally used as a slang term to distinguish high school girls who were not allowed to enter night clubs from adult women. There is also a theory that the word "kogyaru" was derived as an abbreviation of "High school girl" in Japanese.

Another derivative word that was created through the initiative of the mass media was "magogyaru", which refers to a junior high school girl.

During this period, Kogal was popular to the degree there was also a "kogyaru boom" in the media, including shows and weekly magazines, featuring specials about kogals on a regular basis. However, in the shadow of this, various issues such as the lack of a concept of chastity and moral values among young people were also brought up at the same time. In particular, with regard to "Enjo kōsai'' (compensated dating), there were concerns that laws prohibiting child prostitution and child pornography had not yet been established, and this was strongly viewed as a problem. It has also been noted that for many gals, it was only through these sources of funds that they could dress up in the extremely expensive fashions of the gyaru culture.

While Kogal was popular in the 1990s, it was rarely seen in the mass media anymore in the 2000s. However, in foreign countries such as the United States, Kogal is also often used as a general term to describe Japanese high school girls. In some places, Kogal is also used as a form of fetish category.

1990s

Even into the 1990s, the word gal continued to be used. In particular, the "Oyaji gal" that appears in the manga Sweet Spot, drawn by Yutsuko Chusonji gained so much recognition that it won the Buzzword Award. This term is usually used for young women who act like old men. Although this term has little to do with gyaru fashion itself, it can be said that it was one of the first indicators that gyaru were "cutting-edge in appearance, but somehow lacked order and manners in their speech and behavior". Later on, modern gyaru was compared with Oyaji gal.

Around this time, Shibuya's shop tenants such as 109 and PARCO gradually shifted to catering to teenagers, establishing the area as a cutting-edge district for teen fashion.

Meanwhile, since around 1993 in Harajuku, street fashion has flourished, as tenant rents were relatively low. From around 1998, Gothic Lolita fashion began to emerge, which later became connected to gyaru as its opposer of ideals to gyaru, forming an even more diverse youth culture.

Reiwa era

Unlike Heisei era, Reiwa gyaru is characterized by greater diversity, reduced emphasis on strict aesthetic rules, and a focus on individual expression rather than standardized appearance..

In contrast to Heisei-era gyaru, which was often associated with heavy makeup, deep tanning, bleached hair, and clearly defined substyles, Reiwa gyaru encompasses a wide range of fashion and makeup approaches. These may include both bold and minimal looks, as well as the blending of gyaru elements with other styles such as street fashion, onee-kei, jirai-kei, Y2K, and minimalist aesthetics.

The concept of “gyaru mind”—emphasizing confidence, independence, and resistance to social conformity—has become more prominent than specific visual markers. As a result, Reiwa gyaru is often described as less prescriptive and more inclusive than earlier iterations of the subculture..

Print magazines, which played a central role in gyaru culture during the 1990s and 2000s, have largely been replaced by social media platforms such as Instagram, TikTok, and X (formerly Twitter), where individuals share styling, makeup, and interpretations of gyaru identity.

Overall, Reiwa-era gyaru represents an evolution of the subculture that prioritizes personal identity, flexibility, and digital community over fixed visual conventions.

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