Jacob Kimmie takes us on a spiritual pilgrimage into the Inca temples and the ethnic culture of the Aztec people.

Congruent to his feelings of injustice in the world, Kimmie uses contradictions of sentiment and aggression throughout his collection through his use of a black and white palate and religious connotations. The spiritual undertones signify the triumph of good versus evil displays of culture and religion. The music is eerily slow setting the sombre tone. Cuts were simple with long lean silhouettes, stripped of frivolity to show adornment in a primitive way.

Kimmie uses knife edged pleat skirts that extended to a slightly longer line at the back and draped mini skirts that extended into full fishtail trains. Thick sashes tied simply around waistlines hung longer than the hemline playing with proportions.

Kimmie is often inspired by traditional craftsmanship and has collaborated with leather artist Ginta Siceva on this collection, creating special tribal masks and neck pieces fashioned in cut-out leather intricately emulating plant life.

Materials were taken from days of yore with natural materials like wool and leather acting as modern interpretations of animal skins and feathers which were used in tribal ceremonies by the Incas and Aztec's. These natural materials have been used in a modern way with a luxurious tone. Feather adorned capes turned sleeves into wings and women into reverent white doves of peace or majestic crows. Black tulle veils and long trailing layers looked like death shrouds. The show ended with the last model carrying a baby symbolising the fragility of birth, life and death.

Lynsay McConachie