



Gyoda, once a thriving hub for tabi production, is still alive with the history and skill of its artisans. Building on this tradition, a new challenge is underway: to free tabi from the confines of traditional Japanese attire and introduce a modern Japanese aesthetic to the world.
Gyoda's Tabi Culture: Woven from Land and History
Isami Corporation has been making tabi socks in Gyoda City, Saitama Prefecture, for 120 years. The long-established tabi factory will celebrate its 120th anniversary next year. Its sawtooth-roofed building, which featured cutting-edge British technology at the time of its founding, is now designated as a Japan Heritage site.
Tabi have been produced in this region since ancient times. Gyoda is home to Oshi Castle, made famous by the movie "のぼうの城." The area, as the castle town of Oshi Castle—which once repelled an army nearly ten times its size led by Toyotomi Hideyoshi—was lined with samurai residences.
'Tabi production began around the mid-Edo period when lower-ranking samurai started making them as a side business. It seems there were various contributing factors, including a favorable climate for growing cotton, the raw material, and the geographical advantage of being near the old Nakasendo highway for transport to Edo (modern-day Tokyo).'

At its peak, there were over 700 tabi shops in Gyoda. Isami Tabi was founded in 1907, a time when Gyoda was bustling with the tabi industry. They produced tabi in a state-of-the-art factory equipped with electric sewing machines.
'As a latecomer to the tabi market, we adopted a groundbreaking advertising method to expand our sales channels. We held film screenings where customers could attend by collecting five of the 'Matsu' trademark labels found on our tabi products.'
They toured the countryside with a projector. This method was a huge success, and the name Isami Tabi became known nationwide. The vibrant atmosphere of the Isami Tabi promotional film events is even captured in "掌の小説" by Nobel laureate Yasunari Kawabata.


Passing Down 120 Years of Craftsmanship to the Next Generation
Today, Isami Tabi is led by Kaito Tsuchiya, Managing Director of Isami Corporation. Tsuchiya, who originally came from a background unrelated to the sewing industry, found himself involved in tabi making by a twist of fate.
'My father's company acquired Isami Tabi when it was struggling financially. His company had almost no manufacturing know-how, and they needed someone to manage things on the ground, so I was chosen for the role.'
Until then, Tsuchiya had been working in areas like spatial design for a corporation. Seeing it as a valuable life experience, he took the plunge and joined Isami Corporation.
'I knew nothing at first. I had studied languages as an English major in college, so I had no experience in product development. I started from a point where I had never even worn tabi socks before.'
Believing that 'the first step is to learn,' Tsuchiya began by studying the history of Isami Tabi. He volunteered to teach a class on tabi at a local high school, poring over documents and constantly asking the artisans questions to learn about tabi production and its history.
He also went on sales calls to find new markets. He proposed a modified short tabi, made easier to wear by removing the traditional *kohaze* clasps, to various apparel brands, asking if they would carry the product.
'My sales efforts were unsuccessful. Isami Tabi has always produced high-quality socks, but we weren't effectively communicating their value. With the decline in people wearing traditional Japanese clothing, and the fact that we had almost no website or advertising, I knew something had to change.'

Putting Tabi in the Spotlight: A Rebranding to Question Their True Value
The art of making tabi in Gyoda involves a 13-step process. These include 'hikinshi,' which is stacking and straightening fabric for cutting; 'saidan,' pressing the stacked fabric with a metal die; 'tōshi' and 'osae' for threading the 'kohaze' clasps; and various sewing steps for different parts like 'hagimachi,' 'kohaze-tsuke,' 'hanui,' 'kōnui,' 'shiridome,' 'tsumenui,' 'mawashi,' and 'chidori.' The 'shiage,' or shaping with an iron, is also a crucial final touch.
For parts with delicate curves, like the toes, old German-made manual sewing machines are used. It's this marriage of machine and masterful artisan skill that allows them to craft tabi for a diverse range of foot shapes. In the finishing process, they are carefully hammered with a wooden mallet to perfect the comfort and fit.
"I sometimes hear people say, \"Tabi make my feet hurt,\" but when you wear a pair that fits your feet properly, they’re incredibly comfortable. Each and every pair is meticulously infused with our artisans' skill. I realized that rebranding was the quickest path to reaching people who would appreciate their true value."
But tabi are just an accessory in the world of traditional Japanese wear. While some people are particular about their kimono, almost no one is particular about their tabi, making it difficult to raise the price. To ensure its survival, Isami Tabi made the bold move to embrace a theme of 'breaking free from the kimono.'


"Tabi are an item that has been cherished alongside kimono and traditional Japanese culture. But with demand for traditional wear on the decline, we had to rethink their role. I wanted to create a brand aimed at people who don't wear kimono, hoping to make modern consumers think, 'Wow, tabi are cool!'"
And so, the days of trial and error began. He bought a DSLR camera to shoot new visuals, completely overhauled the company website—which hadn't been touched since the Heisei era—and began building a social media presence. He even designed the new logo himself. He also renovated a former warehouse, transforming it into a shop where customers could buy tabi directly.
"The foundation is the history that Isami Tabi has built over the years. We found innovation by looking back into our history, like incorporating pine tree ('matsu') motifs, or creating 'sashiko' tabi through a collaboration with local Bushu Shoaizome dyers, inspired by the history of the indigo-dyed tabi that were popular in the Edo period."

Sharing Japan's Allure with the World Through a Modern Japanese Vibe
In November 2025, Isami Corporation opened 'ISAMI KAWAGOE' in Kawagoe, Saitama.
The shop showcases sustainable tabi made from apple leather, alongside workwear crafted from Bushu Shoaizome 'sashiko' weave. This marked the launch of 'ISAMI' as a full-fledged apparel brand, designed to introduce Japanese culture to a global audience through a modern Japanese lens.
"What ISAMI wants to propose is pairing tabi with Western-style outfits. My personal recommendation is a tabi and jeans combo. But I know it's a high hurdle at first. I figured that by building a strong brand world, we could attract more people who resonate with the idea."
The "頂 -itadaki-" collection, a collaboration with model and influencer Miyu Kawabata, proposes a 'Japanese mode' fashion by re-imagining traditional 'oka-tabi' as knee-high boot styles, designed to be layered with footwear like 'setta,' 'geta,' 'zori,' and sandals. Tsuchiya's own life experience is also woven into the fabric of 'ISAMI.'
"When I studied abroad in New Zealand during college, I spoke with people from all over the world and came to a realization: no one knows less about Japan than the Japanese themselves. We are surrounded by so many incredible things, yet we don’t see them, and they go unnoticed by others. I thought that Isami, with our 120-year history of making tabi, might be able to help solve this problem."
We asked this young leader, who is building a brand by breathing new life into traditional techniques, what he believes is essential for the future of Japanese crafts.
"Visualization. The world of craftsmanship is full of incredible appeal and skill, but it remains invisible to outsiders. I believe that by articulating and sharing these less-transparent aspects, we can spark the interest of more and more people."
Carrying a 120-year legacy, Isami Tabi continues to share the allure of Japan with the world.


Text by Shino Arata

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