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What Lays Between Two Toes Deconstruction and Affect: Exploring the Tabi Boots

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What Lays Between Two Toes Deconstruction and Affect: Exploring the Tabi Boots What lays between two toes Deconstruction and Affect: Exploring the Tabi boots Angelika Watta Department of Media Studies Stockholm University Master Thesis / Fashion Studies (30 credits) Spring 2021 Supervisor: Louise Wallenberg Abstract The purpose of this study is to explore the affective capacity of the Tabi boots by examining the object through the ideas of deconstruction. The boots by Maison Martin Margiela were first introduced in 1989 and sold in different variations over the course of the past 30 years. Although there have been several attempts to acknowledge the importance of the body in fashion studies, scholars have not focused on the literal experience of wearing a garment, examined through the touch. Thus, this study begins with a close object study of a pair of Tabi boots and draws on phenomenology to capture the feeling of being dressed. The emphasis is laid upon exploring how the ideas of deconstruction are embedded in the Tabi boots while staying open to other theoretical inquiries. Striving to test the affective potential of the boots, deduced in the first chapter, the second part of this thesis moves from the perception of the ‘I’ to other wearers of the Tabi boots. In conducting qualitative semi-structured interviews, the aim is to understand how the characteristics of the boots may affect the wearer and how this affective capacity may lead to a becoming, as defined by Gilles Deleuze and Felix Guattari. Guided by ‘applied theory’, this thesis allowed material, theory, and methods to continuously interact and affect each other. Keywords: Deconstruction, Affect Theory, Applied Theory, Object Study, Becoming, Tabi boots Acknowledgements I would like to express my thankfulness to the interviewees for their time, insights and openness towards this study. I learned so much from you. I am also thankful to my family for always cheering and never questioning my path. I would like to express my very great appreciation to my supervisor Louise Wallenberg for creating an environment, in which I felt safe to express and follow my ideas. Thank you. Table of Contents Introduction .............................................................................................................................. 1 Research aims and questions ................................................................................................. 5 Methodology .......................................................................................................................... 6 Theoretical Framework ........................................................................................................ 12 Material ................................................................................................................................ 14 Previous research ................................................................................................................. 15 Outline .................................................................................................................................. 20 Chapter 1: Exploring the Tabi boots ................................................................................... 21 Describing ............................................................................................................................ 22 Deducing .............................................................................................................................. 25 Speculating ........................................................................................................................... 33 Reflecting the system ....................................................................................................... 33 Deconstructing the norm .................................................................................................. 36 Affective fashion .............................................................................................................. 41 Chapter 2: Wearing the Tabi boot ....................................................................................... 44 Interview: The Method ........................................................................................................ 45 The findings ......................................................................................................................... 46 Discussion ............................................................................................................................ 52 Conclusion .............................................................................................................................. 59 Bibliography ........................................................................................................................... 64 Appendix ................................................................................................................................. 75 Introduction “Is it not astonishing that clothes, one of the essentials of life, have withstood any rational investigation such as we apply to food or shelter?” Bernard Rudofsky asks in the press release announcing the first exhibition dedicated to fashion in the history of the Museum of Modern Art in New York.1 The exhibition Are clothes modern? that went on display in 1944 constituted an attempt to begin this investigation.2 In 2017, 73 years later, the museum continued its commitment to explore this field with its second exhibition that centered around clothing, following up with the question: “Is fashion modern?”3 The display, looking for answers, featured 111 items that were said to have a significant impact on the world in the 20th and 21st centuries and that “continue to hold currency today”.4 Next to a pair of Levi’s 501 and the sari, a black leather boot with a split-toe was placed in a glass showcase – the Tabi boot by Maison Margiela. October 23, 1988. Café de la Gare, Paris. For the presentation of his first collection, Martin Margiela invited his guests into a nightclub in the 3rd Arrondissement.5 Margiela, founder and designer of the brand, “drenched his models in red paint so that the unusual footprints they left behind were clearly visible on the white catwalk”.6 This was the first appearance of the Tabi boot. In a review of the Spring/Summer 1989 collection, a journalist from the New York Times noticed “bizarre platform shoes with tonged toes”.7 Apparently, the split-toe of the traditional jika-tabi worn by workers, caught the designer’s attention during a visit to Japan.8 Inspired by this construction, he created his interpretation of the shoe by adding a cylindrical heel.9 The Tabi boot is still produced, reformulated – and sold today. In recent years, the boot has gained new popularity. 30 years after its initial presentation, the sales of the 1 “Tradition Challenged In Museum of Modern Art Exhibition, Are Clothes Modern?”, The Museum of Modern Art,1944, https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/963/releases/MOMA_1944_0049_1944-11- 27_441127-41.pdf. 2 Ibid. 3 “Items: Is Fashion Modern?”, The Museum of Modern Art, accessed February 7, 2021, https://www.moma.org/calendar/exhibitions/1638. 4 Ibid. 5 Alexandre Samson, The Women’s Collections 1989-2009 Martin Margiela (New York: Rizzoli Electa 2018), 8. 6 Olivia Singer, “The Tale of Margiela’s Tabi Boot”, AnOther, September 01, 2015, https://www.anothermag.com/fashion-beauty/7721/the-tale-of-margielas-tabi-boot. 7 Paola Antonelli and Michelle Millar Fisher, Items: Is Fashion Modern? (New York: The Museum of Modern Art, 2017), 245. 8 Ibid. 9 Samson, The Women’s Collections 1989-2009 Martin Margiela, 8. 1 Tabi boot are increasing.10 On Instagram, the profile calling itself the ‘Tabi Archive’ began to share pictures of the split-toe construction in 2015 and gained a following of 45.6k followers since.11 Nevertheless, the Tabi boot has been repeatedly referred to as an object capable of “dividing opinions”.12 In a review in Vogue, Lara Johnson-Wheeler describes the reactions to wearing the Tabi boots as “extraordinary”: “A colleague told me that looking at my feet made her physically sick.”13 In Sparks Magazine, Shannon Homan notes that the Tabi boot confused her: “From afar, it appears to be just like any other ankle boot, but up close it’s strange.”14 Although the popularity of the boots may have risen, it still appears as a controversial design. In a video, the YouTuber ‘Gallucks’ recorded the reactions of friends and family members while showing them a pair of Tabi boots. “Awful”, his mum answers.15 When he asks her what it is exactly that she does not like about the boots, she points to the toe-box. His boyfriend reacts in a similar way: “I feel like I want to jump out the balcony. These are probably the ugliest shoes I’ve ever seen.”16 While holding the toe-box closer to the camera, he screams: “What the hell.”17 On the other hand, wearing the shoes is described in a different manner. Linda Loppa, who was the head of the fashion department of the Royal Academy of Fine Arts in Antwerp and gave one pair of Tabi boots to the Mode Museum in Antwerp, noted: “The Tabi shoes make you feel a bit different. Your attitude, your pose, your way of walking, of thinking probably also is different.”18 Lou Stoppard, an editor of SHOWstudio tweeted: “Buying Margiela Tabi boots is a real turning point in feeling like a strong independent woman. Totally man repelling in every way.”19 Although Margiela’s design language has been the object of several discussions in the field of fashion studies and even
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