Matthew, 21

New ShootsDavid ErixonComment

Matthew, 21

Dorje de Burgh

Long sleeve ties shirt in black by Craig Green. Type 05 grey crystal sunglasses by Sun Buddies. Pop out jacket in silver grey by Christopher Raeburn. Hermes denims by A Kind of Guise. Tyler leather jacket in black by Matthew Miller. Luxe hemp t-shirt in white by Fanmail. One-pocket t-shirt in navy by Fanmail.

Yasar Ceviker & Susi Streich, A Kind of Guise


Yasar Ceviker &
Susi Streich
A Kind of Guise




From "Taverna Kalispera" SS15 Lookbook 


Nowhere: One of the (many) things we love about A Kind of Guise is your quirkiness and fun approach to us as partners, sending us smiley stickers, postcards from Bavaria and telling us ‘Not to worry, we’ve done this before’. It transcends the stereotypical perception of Germans as a tad, eh, serious. How – if any – does the nation brand of Germany impact your approach to building the brand of A Kind of Guise?

A Kind of Guise: It is difficult to answer that question. We are not all that self-aware as a brand and try to get around it by having a humor about the things that we do. We are having fun and we would like for other people to have fun as well and connect with them on that level. But at the same time, we are quite serious on some levels, where we think it is important, like manufacturing and fabric sourcing. We can have fun creatively and still make quality products.

Nowhere: You are completely made in Germany using mostly German fabrics. However, you also incorporate Scottish Harris Tweed, Swiss EtaProof cotton, Austrian Loden-Steiner Wool and Steiff Furs. What are you experimenting with at the moment and can we expect some Irish fabrics in the future?

A Kind of Guise: Using some Irish fabrics is certainly a possibility. In Paris we talked with Brian [co-founder of Nowhere] about Donegal Tweed, which he recommended. So we will try to connect with them. We do put a lot of time into fabric sourcing. There are so many different and really interesting things being done and many of the fabric mills we work with are doing something new and interesting almost every time we see them. The process of narrowing down the field is a tough one. A balance between what is really functional and what would be really interesting to try out.

Nowhere: Sustainability, or perhaps longevity, is a core part of your design ethos. You’ve repeatedly said in interviews that you want to make clothes that last, not just functionally, but aesthetically. Is this ethos spreading into other parts of your business, like manufacturing, distribution or even retail?

A Kind of Guise: Well, we have always made everything here in Germany. We are currently working with approximately 10-12 manufacturers, each one doing a specific category, like for instance hats, knitwear or tailoring. In terms of distribution, we look to work with just a few select retailers. We know this is a phrase being thrown about a lot by various brands, but if you look at our business and stockist list, I think it paints a true picture. We are really depending on a mutually sustainable relationship with our retailers to be able to grow as a company, with the way we go about making our products.

Nowhere: Still, you’re very adventurous in referencing other cultures in your clothes. Italy, Turkey, Greece, Lebanon, Morocco and Mongolia (!) are some of the origins for past inspirations. How come and what’s next?

A Kind of Guise: We do not want to reveal too much about the next season at this point, but we have always been traveling a lot and it is our main source of finding new inspiration. Sometimes it is a place we have already been several times and sometimes it is a place we aspire to go to. Like Mongolia, for instance. Together with the actual inspiration of the country, we like to make up some small, cheeky storyline to sort of hold it all together. Like for instance with this current spring and summer collection, where the "Taverna Kalispera" was this made-up restaurant we made up, as this sort of cheesy place where everything is written in German, which is in turn is a view or vague "opinion" on relations between our home country and culture and correspondingly in Greece.

Nowhere: Clearly you couldn’t have seen this political situation coming… Has it added anything interesting to the narrative of your collection?

A Kind of Guise: With the "Taverna Kalispera" story, it gave us a universe where we could place the products and also help us come up with new ones that fit into it. Like the silk scarf, which was inspired by the idea of a paper napkin for the restaurant. And the printed hoodie we did, which was a joking reference to the financial/political situation in the country. It was a lot of fun to play around with these various ideas within this concept and that tends to be a nice way of keeping the creative juices flowing.

David: Thanks for talking to us. Send more stickers!

A.P.C. denim available in store


APC Worker Raw Denim Jacket €220

APC Worker Raw Denim Jacket €220

We are excited about the arrival of APC Denim to Nowhere. We hope this Irish debut will excite denim enthusiasts all over the country interested in unparalleled quality attributed to an unusual recipe and a small network of Japanese weavers who guard its secret ingredient. 

APC’s denim collection comprises classic two pocket jackets and unisex five pocket jeans. There is raw denim for those looking for a life partner of 

the trouser sort –  garment that requires a  commitment, they come straight cut and unapologetically stiff. But give them time, they slowly soften to their wearer and would happily go a lifetime without being washed. For those seeking instant denim gratification, there is also a denim with stretch, in raw blue finish and black. 

APC is available in store now with prices ranging from €35 - €220. 


APC Petit Standard Stretch Denim €150 


APC Petit Standard Raw Denim €145

Craig Green

Q&ADavid ErixonComment

Craig Green



Silent Ceremony by Craig Green


Nowhere: Hi Craig, congratulations on the LVMH nomination! We're rooting for you. When we went to LCM last year for the SS15 show, we were blown away with how emotive your show was (and that there were quite a few people crying). How did this collection affect you emotionally? Did you shed any tears? 

Craig Green: Thank you, really glad you guys enjoyed the show. I had no idea that the collection would be received in this way – It felt very surreal. Even up until the morning before the show I had the feeling that the collection might not be well received – It felt very simplistic and striped-back in comparison to the collections that I had previously shown.

Nowhere: You described the collection as 'Silent Protest'. What are you protesting against?

Craig Green: It was never really about one specific reason – It was more like the energy of the collection as a whole. Every season starts with a discussion about what the next show should have the feeling of, and it felt right to show something that had this energy – especially in reaction to the season before.

Nowhere: For AW15, we felt this collection had a 'heart' to it. Was the inclusion of the colour red and the holes in the jumpers a nod to this?  

Craig Green: Each collection is always based around a grouping of people and the AW15 collection was based around ideas of institutions – mainly focusing on schools and military. It was definitely the labels most classical collection to date and this is where the use of the red and white in the collection came in.

Nowhere: I know you were originally planning to study fine art at Central Saint Martins, what made you change your mind to study fashion and then menswear? Do you think this has influenced your artistic vision?

Craig Green: I always loved to create things which is why I first enrolled at Central Saint Martins on the foundation art and sculpture course. I think it was the fast pace and the different energy that made me veer off into a fashion route.

Nowhere: All our limbs crossed for you!

Emma Hedlund, CMMN_SWDN

Q&ADavid ErixonComment

Emma Hedlund
Creative Director


White neoprene Arvid Bomber Jacket SS15 by CMMN_SWDN

Knowing that our Arvid bomber jacket can evoke this kind of feeling is blessing on blessings on blessings… as Big Sean would say ;)

Nowhere: I once saw a guy open an iPhone carton and lick the screen of his new phone. It appeared to be an immediate reaction, an act of instinct. Afterwards he looked around, surprised, somewhat puzzled over what he’d just done. It was a very interesting observation of a human phenomenon – the subconscious desire to physically consume an inanimate object, to somewhat become it. I wondered if that would ever happen to me, and it did, several years later, when I for the first time saw your SS15 white neoprene bomber (a black version here).

Emma: Naturally the ultimate satisfaction and recognition as a designer is to see people wear your clothes. Knowing that our Arvid bomber jacket can evoke this kind of feeling is blessing on blessings on blessings… as Big Sean would say ;) I think we’ve all been all been there… I myself remember the first time I opened the box of a CK One perfume when it first came out in 1994 and just wanted to devour it..

Nowhere: The bomber jacket, or the flight jacket as it was originally called, is a piece of garment with some interesting cultural narratives and references. Obviously first worn, in leather, by American fighter pilots during the 1st World War, later morphing into the MA1 design in the 50s (that’s the design your bomber is referencing I assume), from the 70s being picked up by skinheads and scooterboys and in the 2000s becoming part of the hip-hop uniform. Some US police departments are also using it these days. What is your relationship to the bomber and what’s your own bomber story?

Emma: Being a teenager in the 90’s the MA1 has always been a staple in our own wardrobes and is very much part of our brand aesthetic. When designing our first collection it was a natural garment to include and has now become part of our DNA. As designers we do not want to replicate but draw inspiration. We wanted to give our bomber a modern feel and shape and therefore our choice of materials has always been contemporary such as neoprene, memory metallic fabric and heavy matt finished zips. Our classic Arvid is the matt black memory polyester bomber with matt heavy metallic zip. It’s the Batmobile of bombers. For SS15 we whitewashed the collection and to include a matt all white version of Arvid was a natural choice.

Nowhere: You are becoming quite famous for your outerwear – and for your very specific re-interpretation of some classic, iconic designs. Was that the plan all along?

Emma: Innovation and re-interpretation are part of our brands DNA. We are fascinated by the power and cultural messages clothes can hold. Classic iconic design is a constant source of inspiration and excitement for us. However we often don’t start out with a classic design in mind, it is more as if the classic inspiration appears while designing a piece.

Nowhere: A word that keeps popping up in relation to your clothes is Progressive. One aspect of this word is forward-thinking and another is that of a gradual acceleration. What’s your own idea of progressive and how does it influence your work?

Emma: We think of progressive as forward thinking design. We constantly thrive to create something new and innovative. It’s really challenging to innovate and push boundaries and it is that challenge that we enjoy and believe make CMMN into a progressive label.

Nowhere: You just moved into the same London studio complex as Alan Taylor. How is being in London influencing your work?

Emma: Having both studied and lived in London for years, the diverse style of the city is a huge influence and very much part of our identity as a label. We have collaborated with a London based photographer and stylist since day one and are always looking for new interesting collaborators. London is the centre of emerging design talent in the world and is a perfect place to be for a designer label as CMMN.

Nowhere: Thanks for chatting to us Emma.

Dorje de Burgh, photographer

Q&ADavid ErixonComment

Dorje De Burgh



Dorje and Brian Teeling, co-founder of Nowhere, masked as model Simon Cullen (middle).

It seemed like the ideal place to attempt to create a world – particularly one concerned with slippage, identity and construct.
I suppose the advent of our current era of schizoid hyper-virtuality has thrown the constructed nature of identity and persona into sharp relief.

Nowhere: Hey Dorje, you’re the photographer of Nowhere’s Logbook Void Everything which was shot at The National Concert Hall (NCH) in Dublin. It looks nothing like a concert hall inside. What’s going on and why did you decide to shoot there?

Dorje de Burgh: The location of the NCH came about somewhat circuitously – some musician friends of mine are on a studio residency program which is located in a mostly unused wing of the main hall. I’d photographed them and another band in various rooms before, but it’s such a vast and varied space that I knew I wanted to explore and utilize it on a larger scale. When Brian and myself were discussing the thinking behind the shoot it was obviously a perfect fit, containing as it does spaces of both imposing grandeur and quite severe decay. Between these contrasting extremes are also areas that serve, or once served, on a purely functional level; stage sets, backstage areas and technical support. It seemed like the ideal place to attempt to create a world – particularly one concerned with slippage, identity and construct.  

Nowhere: In several images the model is wearing a mask of himself. It makes us think of the death of the individual and the birth of the dividual, which is kind of how the Internet is showing up outside the network itself. We are all these contextual personas nowadays. What was on your mind when the mask idea was created?

Dorje: Yeah… good question. I suppose the advent of our current era of schizoid hyper-virtuality has thrown the constructed nature of identity and persona into sharp relief in many ways… But the notion of the divided self, or the potential sense of profound alienation from oneself, has been in circulation it would seem throughout the entire modern episteme, albeit in various different incarnations. I recently came across solastagia, which is a neologism coined by a professor of sustainability, essentially describing a feeling of homesickness even while at home – which is interesting but not really much a departure from Freud’s uncanny from just under a century ago. The idea of the masks – of which there was a series made, each distorted in different ways, from blur to posterizing – was to provide a playful nod towards some of these ideas alongside those connected to clothing as a more directly conscious vehicle for the creation of different versions of self.     

Nowhere: You obviously created the Logbook in cooperation with Brian Teeling, the stylist (and also one of the founders of Nowhere). What dynamics makes your collaboration so special?

Dorje: It was funny, I’ve known Brian from around for years but mostly just in passing, but as soon as he asked me about working together we instantly connected on an aesthetic level. We both share a taste in music and a visual sensibility that would appear on the surface to be somewhat dark – even bleak or nihilistic, but pushed to the point where it’s almost funny. You can’t take it too seriously. It’s great to have someone who shares that particular outlook.  

Nowhere: One of the most referenced images in the Logbook is the half naked model wrapped in construction plastic, tell us more about that one.

Dorje: That was just opportunism. In one of the more bizarre rooms in the NCH we found this strange frame-like construction made of wood and heavy tarp, and made Simon get into it. That’s it really!   

Nowhere: Finally, what garment did you want to steal from the shoot?

Dorje: Hard to choose… but I’m pretty obsessed with all Matthew Miller’s stuff and immediately got one of his sweatshirts after the shoot so I guess that speaks for itself.

Nowhere: Thanks for lending us your great eye.