In Japanese culture there is a dance known as Buto, or more explicitely ankoku buto: the Dance of Darkness. Famous for its slow, controlled movements and flirtation with grotesque and macabre, one of its co-founders Tatsumi Hijikata saw it as a performance of defiance. A turn from the elegant and embracing the visceral.

Whether Australian designer Caroline Reznik, herself a former professional ballet dancer who had two performers opened her show with an original piece of choreography, was inspired by Butoh or its movements when putting her debut collection for Afterpay Australian Fashion Week together hasn’t been made known (although it would probably be safe to assume Reznik knows of the school, at least). But the dark and twisted fantasy of leather, wool and metal that made its way out onto the runway speaks to similar ideas of the way fashion can be sensually macabre.

“The collection is a wake-up call,” says Reznik. “A statement evoking emotive stillness in its presentation and one that is explored through an identity that reveals fragility within our brutalist society. The synergy between the brand’s DNA and storytelling unites a dance between upholding the main characters, explored through empowerment and human instinct.”

Fragility and brutalism is the perfect description for the collection that followed. The softness of wool that had been pulled and frayed at the ends like spiderwebs; tanned leathers that looked like burnt flesh; armour in the form of studded harnesses or silver dresses, shredded as though they’d walked through an apocalypse.

But dotted throughout there was softness, too. A tutu, albeit paired with a silver body chain. A draped white halter top and dégradé leather skirt. A collection that is fearsome, yes, but beautiful none the less. This ferocity that underpins each piece – a far cry from the “relaxed vibe” we come to expect from Australian designers – is a detail that Reznik is become increasingly comfortable with. A signature, almost.

“My assertiveness towards my work has been the greatest progression since I started,” says Reznik. “I used to question the feelings of what others would make of the work I create and doubt the final product. Now, I find validation within myself and only look forward to sharing the landing point of which my work can be appreciated in.”

This year, the GRAZIA Australia team travelled between AAFW shows in the refined style of Toyota’s new RAV4 GXL. With its modern and spacious interior, privacy glass, and fast charging portals for our phones, it was the perfect mode of travel for zipping across Sydney town. To find out more, visit toyota.com.au

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