On the eve of its showing at New York Fashion Week, Alice Goulter previews Nom D’s fall 2004 collection and explains why it was one of the most acclaimed at L’Oréal New Zealand Fashion Week

PHOTOGRAPHED BY MICHAEL NG FOR LNZFW

This range has been the one of the most impressive to show at L’Oréal New Zealand Fashion Week, and will, without a doubt, follow through inter­nationally to make a mark for Nom D—and Dunedin—globally

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T DOESN’T SURPRISE us that Nom D has headed to New York Fashion Week—it was one of the best at the first autumn–winter collections of the calendar in New Zealand last October.
   This New Zealand label joins the likes of Rebecca Taylor in having a show during New York Fashion Week, a late entry into the Fashion Calendar published in that city. We hope it’ll be as well received there as it was Down Under.
   The final show for Day Two of L’Oréal New Zealand Fashion Week was that of this Dunedin-based label. Held at the unlikely venue of the Auckland Show­grounds in Greenlane, a catwalk had been created on the stadium floor, and the audience seated in tiered grand­stands either side of the catwalk.
   Designer Margi Robertson introduced the audience to her autumn–winter 2004 range with a medley of brightly coloured track wear, grounded with basic white and black hoodies, track pants and singlet tops. Striped leggings and long sleeve tops were layered under the raw-edged garments in the bold—but harmonial—combination of oranges, maroon and teal. The ensem­bles were finished with a classic white Converse trainer.
   The range developed further into a primarily black and white medley. While still incorporating the stripes, Robert­son styled the range further with the addition of low-slung suspenders hanging from shorts, trousers and skirts. She appeared to draw inspiration from the late ’70s–early ’80s indepen­dent music scene by incorporating the idea of pop badges, again in basic blacks and whites. As at Zambesi, this was a family affair, with Chris and Margi Robertson’s son having worked on some of the prints, notably the 45 rpm records.
   Badges were dispersed throughout the range and added on the lapels of jackets and fitted tops. The range also gave reference to the British mod rockers of the late ’60s and early ’70s, with crisp styling with slim fits and traditional knit shapes such as plunging ‘V’ necklines and slim-fitted polo-necks. Other features referencing this ideal were the presence of oversized self-covered buttons.
   Slim-legged trousers were a common feature throughout the collection, often contrasted with bulkier upper-body garments. Fullness was often attrib­uted to the upper arm with oversized puffed sleeves attached to long slim fitted sleeves in knitwear, the medium in which Nom D is most commonly associated with. The continual use of the bold black and white stripes maintained a consistent look and feel to the range.
   An element of semi-deconstruction was also present as Robertson included sharply tailored waistcoats, jackets and trousers. She added the technical insides of other garments, such as the inside of tailored trousers, including pocket bags and waist banding to the lower hem of a waist­coat. Sharp blazer jackets were slashed in half and worn almost as an accessory, again laden with pop badges, branded with peace signs and other social comments.
   Robertson also embraced the slogan ‘Don’t Shoot’, emblazoned across printed tees and tops, appearing almost as a political comment of the present day.
   This range has been the one of the most impressive to show at L’Oréal New Zealand Fashion Week, and will, without a doubt, follow through inter­nationally to make a mark for Nom D—and Dunedin—globally. •

Alice Goulter is senior Melbourne correspondent for Lucire.