Margiela Tabi

Margiela Tabi

Traditional garments were made with cultural inferences. As such, different designs and colors in customary fashions had stereotypical implications that were firmly held on by the community. With the reintroduction of Tabi by Margiela, one wonders if the traditional Japanese culture associated with Jita-tabi would be reinstated and assimilated by the new modern generations.

Tabi dates as early as the 15^th century on the island of Japan. During that period, Japan had started buying cotton from the Chinese country. At this period, large scale production of socks became possible, and lead to the development of Tabi socks to e worn with the cultural thronged sandals. As production of the Tabi socks grew, different colors ere introduced to depict societal classes (Husodo 2017). In traditional Japan, the color making tabi socks marked the ranks of their wearer. Notably, commoners wore indigo blue, and Samurais could have any optional color apart from gold and purple, which were exclusively meant for those in the highest social position, the upper class. During the 20^th century, the introduction of Jika-tabi with rubber sole became a selection for the persons in the working class comprising of laborers such as farmers and workers in the construction industry (Chitrakorn 2019). Essentially this became possible due to the heightened production of rubber.

Later on, Martin Margiela came up with the idea to create a boot with the Japanese Tabi name and design. Essentially, the creation gave him key competence to thrive and later engage in fashion shows. Margiela introduced his split-toe shoes in 1989 during the opening of the spring/summer runway show (Richardson 2018). His shoe design was a surprise to the fashion industry in the world. In every season, the model returned in the show regardless of considerable reservations..

Fundamentally, Margiela has been elemental in the globalization of the split-toe footwear. Furthermore,  the international market provides an impartial perception of the shoes without relating it to the traditional Japanese stereotypical culture and social stratification, which associated different colors to different social classes in the community. Besides, even without considering the cultural implication of the footwear in the modern world, the product is highly regarded for its suppleness for both the toe and the feet. Notably, the shoe can be worn without socks and still give the same comfort and satisfaction. Noteworthy, the present Japanese designers appreciate Margiela’s Tabi for its distinction from the traditional Tabi socks and capacity to inculcate new modifications but still retain the original form. According to an interview by Chitrakorn (2019) to Maya Nago, a journalist based in Tokyo, today’s view of the traditional culture in associating tabi color to certain social classes has profoundly transformed. Virtually, Japanese people acknowledge how their culture and fashion has inspired the rest of the world through Tabi.

Notably, the current fashion employs sophistication, boldness, and prominent styles. For instance,  Margiela created a product that captured the attention of many in the global community. Besides, high-value celebrities such as Cody Fern, an American horror actor, become a big fan of Tabi after the construction of the male fashion in 2018 (Chitrakorn 2019). Also, other social icons, including musicians, and even learners, adopted the new men’s design sizes. In so doing, they helped promote the product and inspire many clients to search and demand the product.

Considerably, social media has played a fundamental role in popularising the Tabi boot. Also, the platforms have made many people appreciate its provocative, aesthetic, and originality style, which, apart from being unique, helps to highlight the sense of individuality. As such, consumers with the desire to wear something different and with some uniqueness opted for the split-toe boots (Chitrakorn 2019). Social media has made it easier and faster to retrieve images, vital information, and also arrange for the actual purchase. Instagram and Tumble have been instrumental in making the product known all over the world.

Currently, producers are working on revitalizing the shoe for contemporary culture with new fashions and sizes for men. As such, the retailer is also reaping big from selling footwear. Notably, the demand has immensely grown by 112 % on the split-toe fashion in the UK and the US in 2019 for e-retail outlets (Chitrakorn 2019). Besides, retailers specializing in luxury wear have steadily increased their stock and sales on the Tabi design.

Although Tabi was launched in the 1980s, it is still flourishing, defying the concepts of getting outdated. Also, the seasonal approaches through which the design is released is strategic, encouraging repeat customers to come each season again to get the latest signature styles. Moreover, given the growing demand for the shoes, the resale market for the product has also grown significantly. For example, Depop, which is an online resale platform, experienced a 170% increase in search of Tabi by late 2018 (Chitrakorn 2019). The notable comparative uniqueness in Tabi is its heinous and bizarre style, which instinctively inspired Margiela and other designers to come up with numerous variations.

Nevertheless, during the early years of its introduction, not all people readily appreciated the cleft toe design. Media, including the renowned New York Times, had something to comment about the Tabi shoes. NYT described the plan as bizarre. Also, critic fashion journalists, including the NYT, asserted that Margiela lacked creativity due to his reuse strategy in his shows. Another notable lousy experience in the use of Tabi was that of Sarah Parker in 2009, in New York. Her digital viewers resorted to harsh words terming the shoe style as “camel toe” (Husodo 2017). The scenario scared off some celebrities from wearing the split-toe design. However, for those caring less about public opinion like Cody, want something that others hate, and find the split-toe shoe brand to be a thrill. They would wear it whenever they wish and at any place or to any event.

Tabi stands out as the only shoe brand that has not been copied or its style modified to the point of losing its traditional outlook, design, and style. Notably, the conventional Japanese Tabi socks complemented by thong sandals solely motivated Margiela to design the Tabi shoes with an illusion of barefoot walking on thick high heels. Mostly, Margiela made Tabi synonymous with his show house. Even after he was gone, the design continued reiterating in every season’s shoe assortment. Importantly, Margiela made varied footwear out of the Tabi design, including sandals, casual shoes, flat shoes, and luxury footwear.

Fundamentally, Tabi is highly intertwined with Margiela’s career. However, Richardson (2018) claims that the design is not entirely distinct. He argues that other developers, including Nike, modified and produced varieties of sports and other split-toe shoes. Moreover, several Japanese companies had exclusively established empires around the tabi socks while others thrived by creating the split-toe inspired sneakers. Also, the Japanese heavily invested in the shoes such that it was used even by the soldiers and athletes. Essentially, Margiela’s Tabi is popular, given that it was his first design to produce, and his dedicated marketing approach of using fashion shows even in the midst of setbacks such as limited finances and some critical rejection by the international customers.

The traditional Japanese Jita-tabi were made of soft rubber, while the Margiela’s Tabi had chunky heels with leather boots. Margiela’s shoes were more massive compared to Japanese design. Moreover, Jita-tabi was solely made for working purposes as they were believed to help in movement (Richardson 2018). On the other hand, Margiela’s Tabi was made for all purposes. However, the split-toe design remained the same in both Jita-tabi and Margiela Tabi. Margiela’s strategy was aligned to memory marketing, where he retrieved a past plan to make a current product for the existing customers (Pierre-Yann 2). Moreover, he capitalized on the long-forgotten cultural stereotypes to make something that would be appreciated by all without any cultural attachments. Notably, the customers in his time did not subscribe to traditional beliefs as those in earlier traditional Japan who had strong and strict cultural views.

Additionally, the traditional Jita-tabi was unisex. Margiela’s Tabi, on the other hand, was gender specif. In his entire stay in Mason’s house, Margiela solely produced ladies Tabi shoes. The men Tabi was introduced later when he was no longer Mason’s and in the industry with a costly leather borrowed from the Jita-tabi and replica of the German design for training the army.

In conclusion, not all cultural precepts persist as time passes. With time and increasing globalization, most cultures become neglected and forgotten. Consequently, the traditional class stratification attributed to the Tabi and its varied colors become insignificant after some time. Notably, like many businesses, Margiela faced financial restrains in his Tabi boot introductory stage. He resorted to reusing and recycling approaches in planning for his fashion shows. However, after some time, Tabi boots gained popularity owing to the introduction of men Tabi shoes and social media.  Although some critics rejected Margiela’s Tabi terming it animalistic, and ugly, he still obtained a gradual growth of loyal customers.