RGYUA- THANAAZ HISHAM
Photo: Michael Steinbach. “Campus Summit 2013,” Tokyo Fashion, 2013.
Gyaru is a vibrant Japanese subculture that defies traditional notions of beauty embraced by young Japanese women, who boldly challenge societal expectations of pale skin and long dark hair. Through this photo essay, I aim to explore the multifaceted aspects of the Gyaru subculture, delving into its distinct fashion trends, influential presence in media communications, global impact, and the intricate intersections of race and politics within its realm.
EGG Magazine, Volume 109. 2005.
EGG Magazine, Volume 101. 2005.
EGG, Volume 45. 2000.
Emergence of Gyaru as a Subculture Japan was hit by a significant economic event known as the Japanese Asset Price Bubble in early 1992. This period witnessed an alarming inflation of real estate and stock market prices, resulting in an economic bubble. Following the aftermath of this inflation, a new cultural phenomenon emerged in the form of “Gyaru” – young individuals, specifically female, originated from affluent private schools and had amassed considerable wealth in their families. They began to indulge in high-end Western clothing, which became a symbol of their newfound affluence. This trend towards Western fashion also influenced beauty standards, leading Japanese women to adopt practices such as tanning their skin and bleaching their hair, mirroring Western ideals.
Celebrity Influences Due to glogocentrism (the overwhelming economic influence of globalisation in forms of knowledge, design, and centres of imitation), Japan experienced increasing Western influence, leading to a rising fascination with Western celebrities such as Paris Hilton, Beyonce, and Britney Spears. Simultaneously, Japanese celebrities like Namie Amuro, Ayu Hamasaki, and Koda Kumi also embraced the Western aesthetic. Queen of Hip-Pop, Album Cover, Namie Amuro. 2005.
Beyonce for Harper’s Bazaar, 2004. EGG’s Beauty Magazine, Volume 109. 2005. This cultural convergence contributed to a (diminutive) shift in beauty standards, where individuals sought to emulate the Western look. Furthermore, societal changes were taking place, particularly among teenagers who rebelled against traditional norms. As a means of insurgence, they modified their school uniforms and challenged the conventional Japanese beauty ideals of pale skin and dark hair by embracing tanned skin and dyed hair.
EGG, Volume 101. 2005.
EGG Magazine – 1995 to 2014 EGG magazine played a significant role in documenting and shaping the Gyaru subculture; a renowned publication for Gyaru run by Gyaru. The magazine featured articles on the latest and popular trends circulated amongst Gyaru and detailed where one could buy them. Notably, each issue dedicated a four-page spread to showcase the latest makeup styles, offering detailed guides on how to achieve them. In addition to its fashion and beauty focus, EGG magazine also included a sex column, addressing topics related to sexual health and providing tips. The image on the left is a scan from EGG discusses a somewhat unconventional topic: what to do in the event of an accidental defecation during sexual activity. The article goes on to explore the suggestion of using chocolate as a means to enhance one’s sexual experiences.
EGG’s Beauty, Volume 109. 2005. Men’s Egg, Volume 075. 2005. EGG, Volume 106. 2005. Men’s Egg Youth, Volume 16. 2010.
EGG EGG magazine further expanded its reach by introducing several counterpart publications. “Men’s EGG” catered to a more mature and alluring style for men, while “Men’s Egg Youth” targeted teenage boys with a vibrant and extreme fashion sense. Furthermore, there were specialized editions like “EGG’s Beauty” specifically dedicated to beauty-related content, and “Flower,” which provided a retrospective on the magazine’s history.
EGG, Volume 6. 2023.
EGG Magazine – NOW EGG is going through a revival at the moment with 6 issues out starting from January 2023. They’ve also started a TikTok account with over 600k followers. They post video with their EGG models of the year and events they host around Japan. @eggtok, TikTok, 2023
The Gyaru phenomenon was not limited to a singular subculture but rather represented a dynamic flow of styles, with each incarnation leaving a profound impact on subsequent iterations. As European luxury fashion made its mark on Japan’s fashion landscape, it played a pivotal role in shaping the evolution of Gyaru. During its initial generation, one of the prominent fashion symbols embraced by many Gyaru was the iconic Burberry scarf. The scarf reflected a fusion of Western luxury and Japanese aesthetics. Its inclusion in Gyaru fashion served as a statement of style, exuding a sense of sophistication and cosmopolitan flair. The adoption of the Burberry scarf within Gyaru culture demonstrates the cross-cultural exchange and creative reinterpretation that characterizes fashion movements.
@rakuten-rady, Ameblo, 2019. @kinokoshimeji, Twitter, 2015. Significant Gyaru Accessories – The Burberry Scarf
Image courtesy of Lizzie Bee. Significant Gyaru Accessories – Hibiscus Flowers
@GyaruOfTheDay, Twitter, 2020. Hibiscus flowers held significant popularity and served as essential accessories within the Gyaru fashion repertoire, adorning necklaces, bracelets, and hairclips. Their vibrant and eye-catching presence added a distinct touch to the Gyaru aesthetic. ALBA ROSA, a renowned Japanese clothing brand, became closely associated with Gyaru culture, capturing the essence of their style. Among their vast array of iconic designs, one that stood out prominently was the two-tone hibiscus coat.
Gyaru Evolved to More than just Women In addition to its predominantly female following, the Gyaru subculture also saw the emergence of a counterpart for boys, referred to as “Gyaru-o.” The “o” suffix in the term represents the Kanji character for male. Recognizing this expanding trend, EGG Magazine introduced a dedicated men’s edition called “Men’s Egg” and “Men’s Egg Youth.” To further engage their Men’s Egg Vol. 63, 2004 readership, EGG Magazine organized lively events known as “Mennai’s” or “Men’s Egg Nights.” These gatherings provided an opportunity for fans to interact with the magazine’s popular male models and were held at various clubs across Japan. Through these events, the magazine aimed to keep its audience entertained while fostering a sense of community and connection among its readers.
Announcement for the 2nd “Men’s Egg Party” on YouTube, 2023. Men’s Egg Youth Vol. 12, 2011 Men’s Egg Youth Vol. 14, 2010
“Men’s Egg Drummers” Cast with Egg Magazine Staff in Shibuya 109, 2011 The Gyaru subculture has inspired several films, including the notable production titled “Men’s Egg Drummer,” featuring the popular Japanese actor Yûki Furukawa. This coming-of-age film revolves around Furukawa’s character, who finds himself thrust into a position of responsibility after his father’s passing. He is compelled to lead and perform in a significant traditional Japanese drums performance. In the movie, the original members of the group refuse to participate, leaving Furukawa as the new leader. As a result, he embarks on a journey to find new members by holding auditions. Enter Rui, portrayed by Koki Maeda, a charismatic reader and model for Men’s Egg magazine. Rui, along with his other model friends, come forward to assist Furukawa in his endeavor. “Men’s Egg Drummer” explores themes of personal growth, resilience, and the power of camaraderie. Film Adaptations
“Men’s Egg Drummers” DVD Cover, 2011
“Nana,” Manga, 2005
Gyaru in Popular Culture “Nana” by Ai Yazawa is an immensely popular manga series that has captivated fans worldwide. The “Nana,” Anime, 2011 story has not only been adapted into an anime show but also into two live-action movies. Within the narrative, one of the main characters’ sister, Nami Komatsu, is a Gyaru. Nami’s Gyaru identity is visually striking, with her deep tan, bleached hair, and vibrant accessories in shades of bright pinks and purples. Her introduction occurs when she returns home late at night, causing concern for her mother. It becomes evident that she had been out with her friends, indulging in a karaoke session. Her disheveled appearance raises curiosity both within her mother and for the readers, leaving them wondering about her adventures. Nami’s fashion choices and carefree attitude reflects the multifaceted nature of the youth subculture.
Sub-Styles: Hime Gyaru Within Gyaru, there are many sub- @hellolizziebee, Instagram, 2021. styles, one of which is called “Hime @hellolizziebee, Instagram, 2021. Gyaru.” They are often referred to as the ‘princesses of the Gyaru world,’ says Lizzie Bee, a Gyaru who resides in the UK. Bee is a Hime Gyaru herself and she describes the sub-subculture: “they often have very big curly hair with lots of pearls and bow accessories. Lighter colours like pink and white are heavily featured, and the dresses are ever so slightly longer. This is one of the styles where the tan isn’t prevalent.” Hime Gyaru style their bleached blonde or dyed brown hair in large beehive-styles. They are also into nail art and often bejewel their long nails with crystals and flower patterns.
Image courtesy of Lizzie Bee. EGG’s Beauty, Spring/Summer. 2012. EGG’s Beauty, Spring/Summer. 2012.
Sub-Styles: Ganguro @Tanukibones, Gyaru Fandom, NA.
Ganguro was one of the original substyles of Gyaru where a tan is a necessity. The style emerged around the late 90s to early 2000s, so clothes are reflective of the era they were born in, such as big platform boots and mini-skirts. Many Ganguro hung around the Shibuya and Ikebukuro districts in Tokyo. Ganguro cirlce, Black Diamond (mentioned in the next page), opened their own very café in Shibuya. They sported very deep tans with white concealer, and bleached their hair silver grey known as “high-bleach.” Ganguro was a form of agency against rigid beauty standards for women in Japan. It represented individuality and self-expression, defying school regulations. Unfortunately, the Japanese media portrayed Ganguro girls negatively, overlooking their motivations. Recognizing Ganguro as a resistance to societal norms challenges media narratives and promotes understanding of diverse beauty expressions in Japan.
Gyaru Circles – Black Diamond [Ganguro Café + Music] “Ganguro Café & Bar in Tokyo,” NiiponNewsNet on YouTube 2016 “AVANT GYATUDE,” Black Diamond MV on YouTube 2013
Gyaru Circles are a group of Gyaru that come together for meetups, organise events, as well as have their own online communities. “Black Diamond” circle boasted over a 100 members with strict, complex hierarchy systems. Starting in 2018, “Black Diamond,” underwent a transformation, rebranding themselves as “Black Diamond -from 2000.” This new incarnation of the group took on an exciting venture as workers at the popular “Ganguro Cafe.” Operating for three years, this unique establishment offered customers the opportunity to undergo a complete Gyaru makeover experience for a nominal fee. In addition to the makeover, patrons could also capture memorable moments by taking Purikura (Photobooth) photos. After three remarkable years of service, the Ganguro Cafe unfortunately closed its doors in 2018. The circle also formed a girl group and released two singles titled “Avand Gyarude” and “Crazy Tribe.” “from2000 x Ryu” SPECIAL PHOTO BOOK,” Black Diamond, 2020
Gyaru Circles – Angeleek Images from Facebook Group “Gyaru and Gyaru-O.”
Angeleek, another Gyaru Circle inspired by the French word “Angelic,” was an influential group that thrived from 2001 to 2009. Over the course of its existence, Angeleek experienced eight generations of members. The members of Angeleek cherished their time together, often engaging in activities such as karaoke sessions and capturing memorable moments in Purikuras (Photobooths). Some of the member rules are they must go tanning four times a week and be totally ‘black,’ so ‘black’ you cannot be seen in a nightclub. They also had other odd rules like you must not smell and always have a sake in your right hand. The circle employed a generation system to recruit new members, allowing for a continuous infusion of fresh perspectives and talents. To honor the growth and progression of its members, Angeleek held graduation events, providing an opportunity for senior members to bid farewell and embark on new journeys.
Gyaru Icons: Burteri Buriteri, also known as MARI, gained significant recognition as a former EGG magazine model in the late 90s to early 2000s. She played a pivotal role in popularizing and defining the Ganguro and Manba substyles of Gyaru. One of Buriteri’s notable style characteristics was her use of heavy, dark foundation combined with white lipstick. This distinctive makeup technique created a stark contrast and emphasized the unconventional beauty standards she embraced. Alongside her makeup, she incorporated vibrant Hawaiian and summer motif clothing into her wardrobe, further pushing the boundaries of traditional fashion norms. Buriteri’s influence extended beyond her modeling career. She made a significant impact on the industry by collaborating with “Blacky’s,” a popular tanning salon in Japan. This partnership caused a stir in the media. The negative publicity surrounding Buriteri’s association with Blacky’s eventually took its toll. The criticism and backlash she faced led her to make the difficult decision to depart from the Gyaru-Ganguro scene. Despite her departure, her legacy as the pioneer and Queen of Ganguro and Manba remains.
EGG, Volume 45. 2000. “Burteri Now (left),” Claranee Blogpost, 2011.
Music & Party Culture – Para Para Para Para, a synchronized dance style, emerged in EGG Vol. 107, 2005. Japan during the late 1990s, coinciding with the rise of the new wave and synthpop genres in the country. This vibrant dance form is closely linked to Eurobeat music, which further contributed to its popularity. In an interview with ALEPH, Dave Rogers, an acclaimed Eurobeat artist, aptly described Para Para as the definitive dance style for Eurobeat music. Para Para predominantly focuses on upper body movements, incorporating a distinctive four-on-the-floor rhythm. This rhythm, characterized by a steady and evenly accented beat in 4/4 time, emphasizes the bass drum hits on each count (1, 2, 3, 4). The combination of these rhythmic elements and the expressive upper body motions defines the essence of Para Para.
EGG Vol. 109, 2005.
The Campus Summit, held annually since 1995 in Shibuya, the epicenter of Gyaru culture, attracted over 1000 Japanese Gyarus and Gyaru-Os. In 2013, the Campus Summit reached new heights with top faces from Gyaru magazines, Egg and Men’s Egg, including performances by renowned Gyaru performers such as Kanako Kawabata, Yumachi, Aina, CIEL, and Gal Doll, as well as DJ GAKKY, also known as Yuuki Inagaki, a former Men’s Egg model. According to Lizzie Bee, a dedicated and active Gyaru, based in the UK relays that the “Campus Summit was THE Gyaru event, and there isn’t anything else quite like it that solely focused on Gyaru.” Each Campus Summit is marked by a theme song, with the catchy track “Sailor Suit and Loose Socks ~ I Love You a Million Times” serving as the vibrant anthem for the 2011 edition. This song, performed by former Egg models and Campus Summit hosts, Yumachi and Aina, added to the energetic atmosphere of the event. The last Campus Summit was held in 2013. “Campus Summit 2010,” Poster, 2010
Gyaru Annual Festival – Campus Summit Photo: Michael Steinbach. “Campus Summit 2013,” Tokyo Fashion, 2013.
Navigating Professional Careers – Girl Groups AKB48, a renowned all-female idol group, has garnered significant popularity within the music industry. AKB48’s performances are characterized by their collective presence, but they also showcase their talent through five distinct sub-units. In an exciting development preceding the hosting of the Campus Summit in 2011, Yumachi and Aina, prominent members of AKB48, undertook the production of their own subunit known as “Shibuya GALS” under the AKB48 umbrella. The creation of this subunit led to auditions that attracted an impressive number of applicants, with over 4,000 girls aged between 14 and 20 vying for a spot. Eventually, the subunit released their debut single titled “Ouenka! Agepoyo~,” marking an exciting milestone in their journey.
Yumachi and Aina performing at the Campus Summit 2013, 2013.
International Connections – Internet Personalities Trisha Paytas, a well-known American internet influencer, once embraced the Gyaru style as part of her ever-evolving personas. During this phase, she released a music video titled “Kiss Kiss” under her Gyaru name. ‘Trishii,’ which was filmed in various locations alongtheHollywood Boulevard in 2011. In 2020, a controversy involving Trisha Paytas and James Charles, a prominent beauty influencer, emerged when Charles accused her of engaging in blackface, a practice considered racially insensitive and offensive. This incident sparked intense debates online, with discussions questioning whether the Gyaru style itself could be seen as a form of blackface. The controversy even prompted multiple revisions to the definition of Gyaru on Wikipedia, reflecting the ongoing discussions and varying perspectives on the matter. The controversy surrounding Trisha Paytas and the accusations of racism within the Gyaru community shed light on the complexities and sensitivity of cultural appropriation and the potential for misinterpretation.
“Kiss Kiss,” Trisha Paytas MV, 2011.
EGG, Volume 43. 2000.
Addressing Accusation of the Blackface/ Blackfishing Blackface has been a topic of conversation for Gyaru. But the concept of blackface is heavily taken from a Western, Euro-American lens. Japan has remained largely isolated from Western colonisation and has maintained a meticulously preserved beauty standard for women, i.e. having pale skin and long, black hair. Spanning from the overthrow of the Shogunate family in 1333 to the Tokugawa period of 1843, the country has culminated popular sayings such as “in rice and women, the white the better;” and “white skin makes up for seven defects (of the body).” White skin was always associated with the wealthier classes as they did not have to work outside in the sun. Having pale skin was synonymous for being fragile, youthful, innocent, and sometimes sexual as well.
What could have been a form of emulation of Western celebrities and culture like mentioned previously, women have agency and the ability to “afford a source of symbols for other complex structures,” (Douglas, M. 1966. “Purity and Danger: An Analysis of Concept of Pollution and Taboo”) There is a strict adherence to uniform in Japan, as seen in a case in 1992 published in Japan Times, where a student was suspended for violating dress code rules by wearing incorrect clothing and sporting a perm. It is within this context we witness the resistance of high school girls, Gyaru, against the habitus enforced by Japanese beauty ideals.
“Schoolgirls - Nishiki Market - Kyoto,” Maki. 2003
Unlike the West, Japan has been a largely homogenous country. In the United States of America, blackface has a deeply rooted history of white entertainers imitating people of African heritage, perpetuating harmful stereotypes and promoting degradation. Additionally, in the Netherlands, the celebration of Dutch Saint Nicholas still exist where white people paint their face black, wear Afro wigs, and vibrant red lipstick to imitate Black Pete (Zwarte Piet). The Netherlands has a historical legacy of the Dutch slave trade, and its manifestation in a postcolonial and multicultural Netherlands is why Black Pete is considered racist and blackface. Given these histories, and the heavily globalised world we live in now, especially with the constant digital flows where it facilitates access to different cultures – does Gyaru now operate in a position of uncertainty regarding its deep tans and dark make-up? But another question arises – can Gyaru be held responsible for the world’s issues of racism? The regulation of bodies in contemporary cultures, like Japan, is complex and multifaceted; influenced by multiple factors, including history, politics, culture, and global forces. The pervasive impact of globalisation and digital media further complicate these discussions, as they grant us unprecedented access to diverse cultures and perspectives, promoting us to question the (physical ethnic) boundaries of cultural appropriation. Japan’s experience with racism and its perception of race in present-day society have been significantly moulded by Western hegemony and the imposition of Euro-American popular culture and political systems.
Images from Facebook Group “Gyaru and Gyaru-O.”
EGG, Volume 45. 2000.
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