In the midst of Miami’s chaotic Art Basel frenzy, the Parodi Costume Collection offers a rare sanctuary of calm with its latest exhibition, In Praise of Ma: Emptiness and the Space Within. This immersive showcase, dedicated to Japanese fashion, is more than just a display of garments—it’s a meditation on the profound philosophy that underpins Japanese design. But here’s where it gets intriguing: while the exhibition features iconic pieces by Rei Kawakubo of Comme des Garçons, Issey Miyake, and Yohji Yamamoto, it’s the absence of excess that steals the show. A Zen garden sits at its heart, surrounded by a curated selection of designs in muted tones, save for two vibrant Comme des Garçons dresses that boldly break the neutral palette. It’s a deliberate contrast, inviting visitors to pause and reflect in a season of maximalism.
Curating this exhibit was no small feat. Annie Dellepiane, alongside founder Francisca Parodi, meticulously selected just a dozen pieces from nearly 400 avant-garde garments spanning the 1980s to the present. Highlights include Yamamoto’s deconstructed 1993 knit dress, Comme des Garçons’ 1997 Lumps and Bumps gingham masterpiece, and Miyake’s 1998 Gunpowder dress, a collaboration with artist Cai Guo-Qiang. Yet, the real star is the concept of Ma—the Japanese principle of intentional emptiness, inspired by the space between the kimono collar and the nape of the neck. This idea of voids and absences encourages visitors to slow down and absorb fashion history in a way that feels almost revolutionary.
And this is the part most people miss: the exhibition isn’t just about clothes; it’s about the space between—the silence that speaks volumes. As Gonzalo Parodi, Francisca’s son and the institute’s director, aptly puts it, quoting Junichiro Tanizaki, it’s like “silent music.” A mesmerizing example is a Comme des Garçons spiral dress from 2014, coiled like a serpent in the Zen garden, accompanied only by rocks and a custom wool wig. It’s a visual haiku, challenging Western notions of fashion as purely functional or decorative.
But here’s the controversial bit: while the exhibition celebrates Japanese design, it also subtly critiques Western fashion’s obsession with excess. Gonzalo Parodi provocatively notes, ‘These Japanese designers told the West, ‘We aren’t going to come to Paris and be your creatives. We’re going to do it our way from here.’ It’s a bold statement that invites us to question: Has Western fashion lost its way by prioritizing spectacle over substance?**
The exhibit delves deeper into Japanese cultural principles beyond Ma, exploring Hi (shadow and concealment), So (essence and rawness), and Ha (rupture and transformation). A gesamtkunstwerk approach—think dresses behind shoji screens and Naoko Ito’s multimedia sculpture alongside Miyake’s A-POC collection—helps visitors grasp these abstract concepts. Sitting on a gallery bench wrapped in Japanese textiles, Gonzalo emphasizes the exhibition’s higher purpose: to explain how Japanese fashion’s philosophy and values diverged dramatically from Western norms when it burst onto the global scene in the 1980s.
To enhance the experience, the Parodi Costume Collection is offering workshops on Zen gardens, calligraphy, Japanese whiskey tastings, and film screenings. Even the Zen garden itself will evolve, with plans to periodically rearrange it, inviting repeat visits. And for those craving more, a follow-up exhibition focusing on Issey Miyake’s 1990s work will premiere at Kent State University Museum in October 2026, featuring over 60 pieces from the Parodi archive.
So, here’s the question for you: Do you think Western fashion could benefit from embracing the principles of Ma—emptiness and intentional space—or is it too deeply rooted in excess to change? Let’s discuss in the comments!
