Six sound-objects were exhibited as an interactive installation.

Fashion is primarily a visual ontology consisting of definitions, theory, and methods that are based on visual language. This research revises fashion by approaching it from a different—sonic—perspective wherein sound is considered not as a negative aspect but as a potential source of a new theory and facilitator of the evolution of new methods. Sound is thus presented not as a secondary quality of designed objects, but as the main idea-generator. The research opens new avenues for design thinking with ears rather than eyes. Rethinking aesthetics and shifting from the visual to the sonic dimension opened up for a new and unexpected concept—sonic expression. This suggested new ways of approaching fashion practice through the exploration of an artistic research methodology at the intersection of fashion, sound art, and sound phenomenology, seeking to extend the potential of alternative fashion expressions. The research findings challenge existing theory with new terms, definitions, methods, and tools, and show the importance of understanding fashion as a platform for new knowledge production and critical thinking, along with unlearning and rethinking preconceptions of what dress is and could be. Furthermore, the results have implications for ways of thinking in design in relation to e.g. diverse communities such as the visually impaired.