Boho Chic? Actually, Barefoot Chic.
Being barefoot—or rather, slipping into stockings à la The Row’s latest Resort '26 show—carries an undeniable cultural weight. Growing up, my mother let me roam our hardwood-floored house and spill onto the grass with nothing between me and the earth. Now, the mere thought of setting a bare toe on the floor sends my roommates into crisis mode. They swear I’ll fall sick on impact, promptly shoving a slipper onto my foot.
So, when Doechii floated barefoot onto Chloé’s red carpet, I felt exhilarated. She’s rewriting the rules of Bohemia—no artisan clog, no nostalgic ballet flat, no sneaker wedge attempting to capture the “boho chic spirit.” Just skin against the ground, as it was meant to be.

There’s a quiet rebellion in the act of going barefoot—an intimacy with the world that luxury can’t replicate. It’s that same raw, undone ethos that Mary-Kate and Ashley Olsen always exude, despite the fact that their version of nonchalance usually involves $1,000 shoes. But in spirit, they embody it. And perhaps, just maybe, Doechii has reminded us all that the chicest step forward might just be one taken barefoot.
With that said, we’re shoe people here at Colléct—obviously! Will Doechii and The Row ignite a lasting shift in fashion? Probably not—we’re all consumers at heart (and let’s be honest, shoe shopping is half the fun). But at the very least, they made us pause and consider it—and that’s always where change begins.

For those who love the benefits of going barefoot but wouldn’t dream of actually stepping out shoeless, that is precisely why the Margiela Tabi exists. Designed by Martin Margiela in 1988, its split-toe silhouette mimics the natural splay of the foot, offering a subtle nod to barefoot freedom—without sacrificing style (or hygiene). Margiela has always been ahead of the curve, and perhaps, the Tabi was fashion’s first answer to the health benefits of being barefoot. Improved balance, better posture, and a deeper connection to the ground—all while staying impeccably dressed.
