For four decades, NOM*d has been a cornerstone of New Zealand fashion, blending avant-garde aesthetics with a distinctly Dunedin sensibility. Now, the brand’s legacy is being honoured with a landmark retrospective at the Dunedin Public Art Gallery. Featuring archival pieces films, and groundbreaking collaborations, the exhibition offers an intimate look at NOM*d’s journey from knitwear beginnings to a global cult label. In our autumn 2025 issue, founder Margi Robertson and long-time collaborator and stylist Karen Inderbitzen-Waller [who styled the retrospective with her partner Delphine Avril Planqueel] reflected on the evolution of the brand, its creative milestones, and the artistic community that shaped its story.
In conversation with Margi Robertson and Karen Inderbitzen-Waller
Karen: This is the first NOM*d retrospective to be showcased at a major New Zealand gallery. How did it come about with Tim Pollock from the Dunedin Public Art Gallery?
Margi: Tim has worked with us over the years. Dunedin is a small city, and we’ve always had a nice connection. He’s always supported local talent — art, music, and fashion. He’s familiar with our work, and Dunedin itself understands NOM*d, making this exhibition feel natural.
Karen: It seems like the perfect fit. Tim not only knows your brand but also has a deep understanding of fashion, both locally and internationally. It must have been exciting when he approached you.
Margi: Definitely. At first, I was a little overwhelmed by the idea — 40 years of work! But then, thinking about how to present it in a way that felt fresh, we knew we needed a stylist who understood us. That’s when we thought of you.
Karen: I remember getting the email while in the south of France and thinking, ‘What an incredible project to return home to.’ And having Delphine involved in there was incredible — she is somebody that is also part of the brand and the family. As long as I’ve been collaborating with you, there’s always been Delphine there. We obviously put her out on the runway quite a lot, and she was always behind the scenes — she was part of the family. It’s hard to imagine the era of us working together without her there. So it was a real honor for her, too, to be involved and included. And as I said, it was one of our favourite projects of last year. It was a privilege to step into your archive — a true Pandora’s box of history. Being up on ladders, diving into decades of work, was thrilling. It was hard not to pick everything!
Margi: The goal was to make archival pieces feel contemporary rather than a chronological display. It was rewarding to reconnect with the people behind the designs — knitters, seamstresses, and in-house designers. It’s fascinating to think about where they are now.
Karen: So many talented people have passed through NOM*d. As we worked through the collection, it became clear which era each piece belonged to, and I loved recognising the evolution of the brand. The early knitwear had a beautiful naivety, contrasting with the more structured, architectural pieces that later defined NOM*d.
Margi: In the first 11 years, from 1986 to 1999, we focused solely on knitwear, collaborating with three different manufacturers. We moved from knitting fabric lengths that were treated like wovens to fully fashioned knitwear — knitting garments to shape, like hand-knitting but industrialised. That shift was pivotal.
Karen: I noticed that shift in the pieces — the early ones were softer and drapey, with toggles and clasps, while later designs became sculptural and bold. That evolution defined the essence of NOM*d.
Margi: And then came the collaborations, which took us beyond traditional fashion presentations. Working with film, photography, and performance allowed us to showcase our work in unexpected ways. Of course, the longest-running creative collaboration goes to Sam [Robertson], who has been the instigator of our iconic collection involving stencilled T-shirts. They never go ‘out of fashion’ — they’re constantly on repeat, season after season.
Karen: Sam was always an integral part of our collections and shows. There wasn’t a collection without Sam’s genius designs; they’ve become so iconic and collectible — historical markers of each era of NOM*d. Working with film, photography, and performance allowed us to showcase our work in unexpected ways. All the collaborations were magic. The Danse Macabre live show and Turncoats film were particularly special. It felt like a Lars von Trier film — each segment had its own world, from a singer on a crushed car to a bed made of lingerie where Delphine read poetry. It was multilayered and immersive, like stepping inside a dream.
Margi: It was an incredible time. Our collaboration with Richard Shaw started with him creating our first website, and it evolved into making films like Board Games and Caveat Emptor. Alastair McKimm played a huge role in that, too. We always wanted to present NOM*d in a way that transcended runway shows.
Karen: It elevated NOM*d beyond fashion — it became an art form. Those films are now a vital part of your retrospective, showcasing the depth of your work.
Margi: Exactly. We’re also revisiting the photographers we worked with, searching through old film archives. Everything was shot on film back then, so digitising and restoring images for a large-scale display has been a challenge, but we’re getting there.
Karen: It’s incredible that this exhibition will document decades of work in one space. Few designers have such a rich, multidimensional archive. It’s a testament to the brand’s impact.
Margi: I feel lucky to have built such strong relationships — designers, pattern-makers, photographers, stylists. Our first encounter with Alastair at London Fashion Week was pivotal. Meeting you at New Zealand Fashion Week also felt like another serendipitous moment in our journey.
Karen: I remember the first NOM*d show I attended — Don’t Shoot. It was electrifying. Your collections were always theatrical and immersive. The Red show and Danse Macabre left lasting impressions. Those moments are etched in fashion history.
Margi: Those shows felt groundbreaking at the time. The energy was incredible, and working with Alastair in New York took things to another level. His styling transformed the runway into something cinematic.
Karen: He had an innate ability to build silhouettes that felt completely new while staying true to NOM*d’s DNA. When we were styling mannequins for the retrospective, we kept his approach in mind — each piece had to be interesting from every angle, layered in unexpected ways.
Margi: We’ve always aimed to create garments that challenge mainstream fashion but remain wearable. At the same time, we love a show pony — those conceptual, artistic pieces that make an impact on the runway. We’re showcasing some of them in the retrospective.
Karen: Those pieces belong in museums! I loved that you let us experiment — sock dresses, sculptural knitwear, and that incredible Aran wedding dress. Those bold designs added spectacle to the runway while staying rooted in craftsmanship.
Margi: Exactly. And looking at today’s fashion landscape, I see emerging designers pushing boundaries in new ways — using 3D printing, gender-fluid designs, and intelligent construction. It’s an exciting time.
Karen: I hope we see that spirit at the next New Zealand Fashion Week. The challenge now is creating impactful shows with limited budgets. Designers have to think differently about how to present their work.
Margi: I’ve been judging emerging designers at iD Dunedin Fashion Week for some time now, and it’s inspiring to see their creativity despite financial constraints. They’re using unconventional materials and digital techniques to push boundaries.
Karen: That’s encouraging. Fashion is moving away from theatrics and toward intelligent design. I hope young designers embrace conceptual thinking, like Hussein Chalayan or early McQueen, creating thought-provoking work beyond just wearable clothes.
Margi: That’s the shift we’re seeing. I’m heading to Paris soon, and I always gravitate toward shows like Comme des Garçons and Rick Owens — designers who treat fashion as an art form. Their work continues to inspire me.
This is NOM*D is now open at the Dunedin Public Art Gallery
Exhibition Dates: March 29th – July 6th 2025
Hours: 10am – 5pm
Entry: Free
As told to: Sarah Murray
Imagery: Supplied by NOM*D
