There were more sightings of the Ugg boot at Saturday’s shows than there were famous front-row faces — a rarity for a city whose women probably sleep in their stilettos, such is their fanatical devotion to being well groomed at all times.

As temperatures dipped to minus 5C (23F), with what felt like a wind-chill factor of at least minus 20, two Antipodean labels that have shown previously in London chose to kick off New York fashion week again.

London may have the edge right now, not to mention one heck of a buzz, but even established designers cannot overlook the global PR machine that is American hype for getting their message across. No presenting your wares in a dingy, underground car park for this lot. Even newcomers such as the American designer Alexander Wang, who showed in the afternoon, managed to secure sponsorship from the cosmetic giant Shiseido.

Karen Walker and Sass & Bide have only to look at what coming to New York has done to improve the coffers, and internationalreputation, of the British designers Matthew Williamson, Luella and Alice Temperley. What’s not to like about the influential audience of publishing power-houses, international buyers, models and celebrity stylists?

However, there is a downside to this fashion nirvana. The refining influence of showing here is well documented. Williamson and Temperley, famed for an overt love of hippy deluxe chic and pile-it-on embellishment, have had to repackage themselves to appeal to a slicker, sophisticated and broader clientele.

Both labels thus looked a touch more chic - polished even - although it should be noted that Sass & Bide lacked its energy, which perhaps owes something to both designers becoming mothers recently. Yes, the signature draping was still there, this time round in matt gold lamé pleated tops. So were the harder-to-wear baggy-crotch trousers and Edwardian corseting on little waistcoats, but the clothes did not pack their usual punch.

Things were more hopeful at Karen Walker, a New Zealander admired for her offbeat approach to tailoring, kooky patterns and a colour palette that reflects her native land. Yesterday’s collection was an interesting mix of one part Forties resistance fighter, some graphic Sixties shifts and the rest a Seventies retro vibe. High-waisted trousers were paired with neat blouses and spriggy prints while sombre black, fitted crepe dresses with puffed shoulders were “grafit-tied” with cartoonish Pop Art slogans. Under the sometimes dubious styling (more baggy-crotch trousers with army boots) were pleasing additions to next winter’s wardrobe, including a deftly cut black wool trenchcoat and camel, military-inspired shirt dresses.

For the Texan-raised designer Lela Rose, an uptown polish is part of her childhood territory. Yesterday she showed her second collection of simple, couture-inspired shapes: shift dresses in thick silk with pin-tucked necklines, bold appliqué flowers on slightly gathered bubble skirts.

While this Fifties-referenced route is a well-trodden path, because it manages to combine safe, commercial clothing with a nod to Balenciaga mastery, Rose’s dresses were for the most part a triumph, give or take a few ill-fitting, dropped waists and some rather odd, voluminous proportions.

Get the latest news from the shows on the Times Fashion Week blog

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