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There are fashions in such things, of course, for both the free and the slaves, with respect to colors, textures, materials, cuts, hemlines, and so on. How and when fashions changed, and why they changed, was not clear. Doubtless there were setters of trends, say, highly placed officials, wealthy Merchants, Actors, Singers, and Poets, certain women of noble family and high caste, and such, but why should one option rather than another succeed in being adopted, however transiently? Perhaps the higher, better fixed, more established or influential members of the Cloth Workers had something to do with it, with hints, with words dropped now and then, with boulevard posters, with some judiciously distributed free garmenture, here and there, and so on. Doubtless each time a fashion changed at least the high Cloth Workers, masters of the foremost garment houses, would sell more garmenture, at least to the fashion conscious, to those who were concerned to keep up with the times, to those who feared to be pitied or ridiculed for being out of style, and such. With respect to slave tunics, for example, it was several years, apparently, since the common slave tunic was white with black striping, usually with a diagonal striping. And, of course, if masters and mistresses might be concerned with the garmenture of their kajirae, as simple and brief, and as revealing and demeaning, as it might be, one can well imagine their concern with their own garmenture, particularly if they were of high caste. The coffle chain was a girl chain, and, accordingly, light. - (Conspirators of Gor, Chapter )