Automatically translated.View original post

Legendary Strap Shoe Legend Opening: Mary Jane 👞

Open the Mary Jane Legend: From Baby Shoes in Comics, to a Killing Undead Fashion Icon!

Speaking of the most influential shoes in fashion history, the name "Mary Jane" is impossible, because this is a shoe that has traveled through 120 years and has adapted remarkably to all ages. ðŸ˜Ū

👞 1. Birth point from newspaper pages (1902)

Believe it? The name "Mary Jane" comes not from the designer, but from the girl character in Richard Felton Outcault's Buster Brown comic strip published in the New York Herald.

â€Ē Mary Jane character wearing round-headed glass leather shoes with a strap draped in the middle of the foot (Bar Shoes)

â€Ē In 1904, the Brown Shoe Company bought the copyright of this shoe, and since then, the world has always remembered the name of this shoe as "Mary Jane."

👞 2.The Flapper Era: When Sweetness Began to Sour (1920s)

During the golden age of jazz (The Roaring Twenties), Mary Jane shoes were elevated from children's shoes to those of "modern girls," also known as Flapper.

â€Ē The girls started wearing Mary Jane with heels and added a detel as a T-strap.

â€Ē Why is it a hit? Because the strap keeps the foot lock from slipping the shoes while dancing a Charleston move that requires moving the legs quickly and violently. It has become a symbol of freedom and dance.

👞 3.The Mod Era: A Symbol of Modern (1960s)

Mary Jane reclaims the throne in London, an era when teenage culture blossomed.

â€Ē Mary Quant, the designer who gave birth to the "mini-skett," brought Mary Jane a match with a short skirt and colorful stockings.

â€Ē Famous models like Twiggy have made the "Doll-like" look a world trend, making Mary Jane a chic, fashionable, light-hearted shoe.

👞 4.Grunge & High Fashion Era: Perfect Darkness (1990s - Present)

In the 90s, this shoe was reinterpreted by brands like Dr. Martens and Prada.

â€Ē Courtney Love and the Rock Line Artist Picked Mary Jane in a duet with a ragged vintage dress or see-through socks, transforming the Miss Rat look into a dark and raw Grunge girl.

â€Ē Today, giant brands like Chanel, Dior, and Miu Miu still send Mary Jane on the runway every year, changing materials from glass leather to velvet or adding platform heels to match the era.

Why is Mary Jane invincible? ðŸ˜Ū

The answer is "Versatility," or versatility itself.

1. Round Toe: Comfortable, not squeezed in front of the feet

2. The Strap: To walk, to run, to be confident. Do not be afraid of loose shoes.

3. Classics: It can change the feed according to the dress. It can be sweet, cool or formal.

Conclusion: Mary Jane is not just a trend that has come and gone, it is the "Investment Piece" that fashion girls really need to have a cabinet attached! 😍

# Mary Jan shoes # Dress up # mix & match # Thai brand bag # Fashion

3/20 Edited to

... Read moreāļˆāļēāļāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļŠāđˆāļ§āļ™āļ•āļąāļ§ āļ‰āļąāļ™āđ€āļ›āđ‡āļ™āđāļŸāļ™āļ•āļąāļ§āļĒāļ‡āļĢāļ­āļ‡āđ€āļ—āđ‰āļē Mary Jane āđ€āļžāļĢāļēāļ°āļĄāļąāļ™āđƒāļŠāđˆāļŠāļšāļēāļĒāđāļĨāļ°āļĄāļĩāļ”āļĩāđ„āļ‹āļ™āđŒāļ—āļĩāđˆāđ€āļ‚āđ‰āļēāļāļąāļšāđ€āļŠāļ·āđ‰āļ­āļœāđ‰āļēāđ„āļ”āđ‰āļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ­āļĒāđˆāļēāļ‡āđ„āļĄāđˆāļ™āđˆāļēāđ€āļŠāļ·āđˆāļ­ āđ€āļ§āļĨāļēāđ€āļĨāļ·āļ­āļāđāļ•āđˆāļ‡āļ•āļąāļ§ āļ‰āļąāļ™āļĄāļąāļāļˆāļ°āļŦāļĒāļīāļšāļĢāļ­āļ‡āđ€āļ—āđ‰āļēāļ„āļđāđˆāļ™āļĩāđ‰āļ‚āļķāđ‰āļ™āļĄāļēāđƒāļŠāđˆāđ€āļĄāļ·āđˆāļ­āļ•āđ‰āļ­āļ‡āļāļēāļĢāļĨāļļāļ„āļ—āļĩāđˆāļ”āļđāļŦāļ§āļēāļ™āđāļ•āđˆāļĒāļąāļ‡āļĄāļĩāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļ—āļēāļ‡āļāļēāļĢ āļŦāļĢāļ·āļ­āļˆāļ°āđāļĄāļ•āļŠāđŒāļāļąāļšāļāļēāļ‡āđ€āļāļ‡āļĒāļĩāļ™āļŠāđŒāđ€āļĢāļĩāļĒāļšāđ† āđ€āļžāļ·āđˆāļ­āđ€āļžāļīāđˆāļĄāļ„āļ§āļēāļĄāđ€āļ—āđˆāļāđ‡āđ„āļ”āđ‰ Mary Jane āļ™āļąāđ‰āļ™āļĄāļĩāļ„āļ§āļēāļĄāļžāļīāđ€āļĻāļĐāļ•āļĢāļ‡āļ—āļĩāđˆāļĄāļĩāļŦāļąāļ§āļĢāļ­āļ‡āđ€āļ—āđ‰āļēāļāļĨāļĄāļ—āļĩāđˆāđ„āļĄāđˆāļšāļĩāļšāđ€āļ—āđ‰āļē āđāļĨāļ°āļŠāļēāļĒāļĢāļąāļ”āļ—āļĩāđˆāļŠāđˆāļ§āļĒāļĨāđ‡āļ­āļāđ€āļ—āđ‰āļē āļ—āļģāđƒāļŦāđ‰āļĢāļđāđ‰āļŠāļķāļāļĄāļąāđˆāļ™āđƒāļˆāđ€āļĄāļ·āđˆāļ­āđ€āļ”āļīāļ™āļŦāļĢāļ·āļ­āļ§āļīāđˆāļ‡ āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āđ€āļĄāļ·āđˆāļ­āđƒāļŠāđˆāđ€āļ”āļīāļ™āđƒāļ™āđ€āļĄāļ·āļ­āļ‡āļŦāļĢāļ·āļ­āđ„āļ›āļ‡āļēāļ™āļŠāļąāļ‡āļŠāļĢāļĢāļ„āđŒ āļˆāļķāļ‡āđ€āļ›āđ‡āļ™āļĢāļ­āļ‡āđ€āļ—āđ‰āļēāļ—āļĩāđˆāļžāļāļžāļēāļ„āļ§āļēāļĄāļŠāļ°āļ”āļ§āļāđāļĨāļ°āđ€āļ­āļāļĨāļąāļāļĐāļ“āđŒāđāļŸāļŠāļąāđˆāļ™āđ„āļ›āļžāļĢāđ‰āļ­āļĄāļāļąāļ™ āļ™āļ­āļāļˆāļēāļāļ™āļĩāđ‰ āļāļēāļĢāļ—āļĩāđˆ Mary Jane āļĄāļĩāļĄāļēāļ™āļēāļ™āļāļ§āđˆāļē 120 āļ›āļĩ āđāļĨāļ°āļĒāļąāļ‡āļ„āļ‡āđ„āļ”āđ‰āļĢāļąāļšāļ„āļ§āļēāļĄāļ™āļīāļĒāļĄ āļŠāļ°āļ—āđ‰āļ­āļ™āđƒāļŦāđ‰āđ€āļŦāđ‡āļ™āļ–āļķāļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļšāļ—āļĩāđˆāļ›āļĢāļąāļšāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđƒāļŦāđ‰āđ€āļ‚āđ‰āļēāļāļąāļšāļĒāļļāļ„āļŠāļĄāļąāļĒāđ„āļ”āđ‰āļ•āļąāđ‰āļ‡āđāļ•āđˆāļĒāļļāļ„ 1920s āļ—āļĩāđˆāļŠāļēāļĒāļĢāļąāļ”āļĢāļđāļ›āļ•āļąāļ§ T āļŠāđˆāļ§āļĒāđƒāļŦāđ‰āđ€āļ•āđ‰āļ™āļĢāļģāđ„āļ”āđ‰āļ„āļĨāđˆāļ­āļ‡āļ•āļąāļ§ āļˆāļ™āļĄāļēāļ–āļķāļ‡āļ”āļĩāđ„āļ‹āļ™āđŒāļ—āļĩāđˆāđ€āļ”āđˆāļ™āļŠāļąāļ”āđƒāļ™āļĒāļļāļ„ 1960s āļ—āļĩāđˆāđ€āļ‚āđ‰āļēāļāļąāļšāļĄāļīāļ™āļīāļŠāđ€āļāļīāļĢāđŒāļ•āđāļĨāļ°āļ–āļļāļ‡āļ™āđˆāļ­āļ‡āļŠāļĩāļŠāļąāļ™āļŠāļ”āđƒāļŠ āđāļĨāļ°āļĒāļąāļ‡āđ€āļ›āđ‡āļ™āđ„āļ­āđ€āļ—āđ‡āļĄāļ—āļĩāđˆāļ”āļēāļĢāđŒāļāđāļĨāļ°āđ€āļāđ‹āđƒāļ™āļĒāļļāļ„ 1990s āļžāļĢāđ‰āļ­āļĄāļāļąāļšāđāļšāļĢāļ™āļ”āđŒāļŠāļąāđ‰āļ™āļ™āļģāļ—āļĩāđˆāļĒāļąāļ‡āļœāļĨāļīāļ•āļĢāļ­āļ‡āđ€āļ—āđ‰āļē Mary Jane āļĢāļļāđˆāļ™āđƒāļŦāļĄāđˆāđƒāļ™āļ§āļąāļ™āļ™āļĩāđ‰ āļāļēāļĢāđ€āļĨāļ·āļ­āļāļ§āļąāļŠāļ”āļļāđāļĨāļ°āļŠāđ‰āļ™āļĢāļ­āļ‡āđ€āļ—āđ‰āļēāļ—āļĩāđˆāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ—āļģāđƒāļŦāđ‰ Mary Jane āļĄāļĩāļ„āļ§āļēāļĄāļ­āđ€āļ™āļāļ›āļĢāļ°āļŠāļ‡āļ„āđŒāļĄāļēāļāļ‚āļķāđ‰āļ™ āđ€āļŠāđˆāļ™ āļŦāļ™āļąāļ‡āđāļāđ‰āļ§ āļāļģāļĄāļ°āļŦāļĒāļĩāđˆ āļŦāļĢāļ·āļ­āļŠāđ‰āļ™āļ•āļķāļ āļ—āļģāđƒāļŦāđ‰āļĢāļ­āļ‡āđ€āļ—āđ‰āļēāļ„āļđāđˆāļ™āļĩāđ‰āđ€āļŦāļĄāļēāļ°āļāļąāļšāļ„āļ™āļ—āļĩāđˆāļŠāļ­āļšāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļŠāđ„āļ•āļĨāđŒāđāļ•āđˆāđ„āļĄāđˆāļ­āļĒāļēāļāļĨāļ°āļ—āļīāđ‰āļ‡āļ„āļ§āļēāļĄāļ„āļĨāļēāļŠāļŠāļīāļ āļŠāļļāļ”āļ—āđ‰āļēāļĒ Mary Jane āļˆāļķāļ‡āđ„āļĄāđˆāđƒāļŠāđˆāđāļ„āđˆāļĢāļ­āļ‡āđ€āļ—āđ‰āļēāđāļŸāļŠāļąāđˆāļ™ āđāļ•āđˆāđ€āļ›āđ‡āļ™āđ„āļ­āđ€āļ—āđ‡āļĄāļ—āļĩāđˆāļĨāļ‡āļ—āļļāļ™āļ„āļĢāļąāđ‰āļ‡āđ€āļ”āļĩāļĒāļ§āļ„āļļāđ‰āļĄāļ„āđˆāļē āđ€āļžāļĢāļēāļ°āđƒāļŠāđˆāđ„āļ”āđ‰āļ—āļļāļāđ‚āļ­āļāļēāļŠāđ„āļĄāđˆāļ§āđˆāļēāļ­āļĒāļēāļāđ„āļ”āđ‰āļĨāļļāļ„āļŦāļ§āļēāļ™ āļ™āđˆāļēāļĢāļąāļ āļŦāļĢāļ·āļ­āļĨāļļāļ„āđ€āļ—āđˆāđ† āļ‚āļšāļ–āđ€āļĨāđ‡āļāđ† āļ—āļĩāđˆāļŠāļģāļ„āļąāļāļ„āļ·āļ­āļĄāļąāļ™āļĒāļąāļ‡āđ€āļ›āđ‡āļ™āđ€āļ„āļĢāļ·āđˆāļ­āļ‡āļĒāļ·āļ™āļĒāļąāļ™āļĢāļŠāļ™āļīāļĒāļĄāđāļŸāļŠāļąāđˆāļ™āļ—āļĩāđˆāđ„āļĄāđˆāđ€āļ„āļĒāļ•āļāļĒāļļāļ„āđ€āļĨāļĒāļˆāļĢāļīāļ‡āđ†