**Sound of Ikebana** At Japan Society in New York, on February 9, 2026, a fashion show titled *Sound of Ikebana* was presented by Naoko Tosa, an artist based in Kyoto and New York. Unlike conventional runway shows where models walk in a straight line, this production unfolded on a theater stage, where models moved from left to right while performing a range of actions, transforming the event into a distinctive work of performance art. Sustaining the audience’s attention for 50 minutes with a fashion show alone is no easy task. To address this, the presentation was structured into four acts themed around the seasons: spring, filled with vibrant greenery and blossoms; summer, lively with festival energy; autumn, evoking harvest celebrations with colorful dresses swirling dynamically; and winter, incorporating a scene from *The Tale of the Heike* (“Atsumori”). Through this diversity of themes, the work challenged the sensibilities of art-savvy New Yorkers. Since the 1980s, Tosa has explored digital art using computers. In recent years at Kyoto University, she has focused on her *Sound of Ikebana* project, in which various sound sources—including the cries of newborn babies—are translated into the movement of paint placed on speakers and captured with high-speed cameras. From tens of thousands of images documenting these fleeting, irreproducible moments of fluid beauty, she selected and printed them onto lustrous synthetic fabrics resembling silk. These were then tailored into a wide range of garments, including long jackets, pants, and dresses. The upward-splashing forms of paint resembled flowers, giving rise to the name “Ikebana.” The stage backdrop featured video projections of paint bursting and leaping, and when models wearing kimono printed with still images from these visuals stood before them, a resonant, almost déjà vu-like correspondence emerged. Rather than conventional models, the performers were dancers with ballet training. The choreography also brought a fresh perspective: the spring and summer sections were created by sarAika movement collective, known for transcending gender boundaries, while the winter section—highlighted by sword-based movement—was choreographed by Tatenami Hatō-ryū NY. Hair, makeup, and costumes all emphasized a genderless aesthetic, which likely resonated strongly with contemporary sensibilities. This unprecedented fashion show—combining videos that visualize sound, garments derived from those images, contemporary dance, period-style sword choreography, and music spanning cultures and genres—points toward exciting possibilities for future developments.