It’s the million-dollar question: can a shift to in-season, consumer-driven fashion shows really impact a designer’s sales? For Rebecca Minkoff, the answer is a resounding yes.

Following Minkoff’s first #SEEBUYWEAR show on Saturday, during which she offered her spring collection online and in her stores at the same time it walked down the runway, the brand had its best sales day in history, beating Black Friday and Boxing Day, CEO Uri Minkoff told me on Tuesday.

To extend the runway experience, Minkoff made an appearance at her SoHo store shortly after the show, and by day’s end, the boutique had achieved its most robust sales numbers since opening in 2014. The L.A. and San Francisco stores staged their own events, livestreaming the runway show on video walls, and offering shoppers the chance to have the same makeup applied that was used in the show.

“It was magnificent,” Uri Minkoff said of the outcome, adding that the brand plans to continue with the consumer-driven strategy, but may play with different formats.

It’s an encouraging sign that the new model can work, at least for certain designers.

Tommy Hilfiger is also switching to consumer-driven, in-season shows, but not until next season. For fall 2016, he created a fashion spectacle inspired by the high seas, turning his runway into the T.H. Atlantic Ocean liner. Hilfiger created an exclusive “Instapit” on the boat’s deck for the digital glitterati to snap photos of the sparkly sailor dresses, gold-trimmed pea coats and high waist pants. (Next season, maybe we’ll see consumers in the first class seats.)

I found the lighting in the venue to be challenging for getting good pictures. For a sharable extravaganza, you have to think like a Hollywood director: strong WiFi, clear camera angles and ample lighting are musts.

In this time of ever escalating runway extravaganzas, Thom Browne, one of fashion’s great showmen and provocateurs, played it pretty straight. For Browne, getting show goers to focus on his clothes was a walk in the park, because his lovingly reconstructed pieces, a blazer fused with an overcoat, for example, and trousers made into a cape, had storytelling sewn into them.

As usual, the level of craft was captivating–a skirt suit textured to look like it was covered in ticker tape, a snowy white cardigan embroidered with down feathers, and a cartridge pleat dress with pearl inserts were all memorable. It just goes to show that even without a lot of runway bells and whistles, creativity can win out.

Rosie Assoulin is another designer for whom clothes are drama in and of themselves. Her presentation was a fashion week moment of Zen, held in a gallery space with a live piano player, and flickering, colorful wax candles creating a sense of calm.

Assoulin, who honed her experience at Oscar de la Renta and Lanvin, expanded her range beyond modern-looking eveningwear with playful cutouts, knots and folds, to include more everyday options, such as an earth tone metallic leather collage top, worn with green utility pants and biker jacket. (That top reminded me of a modern sculpture you might see in the Whitney, and it was one of the most fabulous pieces I’ve seen yet this week). Art inspiration runs deep with Assoulin; an asymmetrical, color-blocked red, yellow, white and black dress resembled one of Alexander Calder’s mobiles when the model twirled. I also loved the mosaic semiprecious stone chokers on velvet ribbons, designed by her mother-in-law Roxanne Assoulin.

Speaking of great jewelry, Rodarte’s Kate and Laura Mulleavy had it in spades in their romantically ruffled, leather and lace collection, which was inspired by their memories of San Francisco, old Fillmore posters, Art Nouveau and nature. The models wore real flowers in their hair, and dangling from their ears, as well as sculptural gold and silver flower bracelets and necklaces. The effect was stunning. And there were several Oscar gown contenders in the runway lineup, including a ravishing red dress dotted with flowers.

Tory Burch found joy in color, too, as she often does, creating a sporty chic 1970s collection from equestrian and French influences, including the 1972 film, “L’amour L’apres Midi.” (Recently engaged to Frenchman Pierre-Yves Roussel, Burch is clearly feeling l’amour!)

She opened with a statement coat (there have been so many good ones this week), done in a patchwork of rainbow hues, that would brighten any day. A suede midi skirt, patterned lace dress, silvery lame tunic and pants were also strong. And I liked how she incorporated pieces from her new Tory Sport line into the runway collection, layering a shearling bomber over a pair of track pants, for example. It looked modern and real.

Artful layering is turning out to be an important trend this season, as seen in the stellar Public School collection by Dao-Yi Chow and Maxwell Osbourne, The designers used texture and shine to bring an urban edge to utilitarian pieces, such as a laminated ribbed sweater and skirt, a distressed knit coat, an army green plaid poncho and crepe pants with stand-up fringe down the legs, all of which looked cool with knit beanies and slouchy biker boots. I also liked the silver clips used to cinch the back of a blazer and sweatshirt dress, a special detail.

The Zero by Maria Cornejo collection was also multi-layered and textured. As snow fell outside, Cornejo’s graphic blanket stripe obi coat, long fleece skirt (yum) closed with a carabiner belt, shearling poncho and slipper sneakers looked just right inside–proof that it really is possible to look great and stay warm, even when a polar vortex hits during fashion week.