>> To an audience of only 75, Peter Copping sent out his first runway show at Nina Ricci in the salon above the brand's Paris store.  Copping, who spent the past twelve years at Louis Vuitton, took Ricci to a much more feminine, commercial place than previous Ricci designer Olivier Theyskens. “I like wearable clothes,” he told WWD. “I’m not necessarily into being too avant-garde . . . whenever we did more feminine-based collections [at Vuitton], the sales were always incredible in the stores as opposed to the more austere or hard-edged things."

The Spring 2010 show was about all about the house’s “signature codes”  — bows, lingerie, lace — Copping said, and he's keen to add capsule lines of lingerie and wedding dresses soon. So what's his verdict? Hilary Alexander called the collection "charming," T staffers were fans — Anne Christensen deemed it "very pretty" and Armand Limnander "lovely" — and Elle's Joe Zee, too, was won over: "I'm not usually a fan of romance (clothes that is) but Peter Copping's Ricci debut was a slamdunk in romance. Sweet but not saccharin."

Some, however, seemed more hung up on the switch to commerciality: Los Angeles Times's Booth Moore noted, "Olivier Theyskens' Nina Ricci was all vision; Peter Copping's is all saleable product."  Suzy Menkes commented: "[It] is not necessarily a bad thing for a house [to be very commercial] . . . but Mr. Copping, having staked out his pretty girl territory, needs to take her to a newer place." And Style.com's Sarah Mower is holding judgment: "At first sight Ricci is now in a safe pair of hands but the jury's still out till next season."

>> While Valentino Garavani is preparing to tape an episode of The Martha Stewart Show to promote Valentino: The Last Emperor next week, his proteges Maria Grazia Chiuri and Pier Paolo Piccioli sent out their second try at his legacy this morning.  Their first collection for the brand in January was deemed too close to the designer's own style — perhaps done out of fear of having the same fate as Alessandra Facchinetti — so for this second collection, they needed to move the brand forward.

Unfortunately, they seem to have earned more rave reviews for their choice of venue — the Galerie des Moulages, with open windows to the Eiffel Tower — than for the clothes.  Los Angeles Times's Booth Moore deemed the collection the "same coat with fur trim a dozen different ways, yawn." Hilary Alexander thought "the clothes were just too much of a blast from the past," and Suzy Menkes was left wishing for Alessandra Facchinetti.  Curiously, with all the archival inspiration, there was not a single "Valentino red" dress in the bunch.
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>> Easily the hottest ticket at London Fashion Week, Christopher Kane brought out the masses earlier today. But those expecting a colorful outings like seasons past are in for a surprise — as guests were served carrot and coriander soup, Kane sent out pieces in largely black and neutral shades — Hilary Alexander likened the geometric patterns to the stroke of a black marker on a white sheet of paper.  Men's brogues covered feet — that or crushed purple and gold velvet high heels that models were warned about before the show — apparently the heels were fragile.  All in all, definitely a toned down version of classics compared to what Kane has done in the past, but still impressive enough to keep the critics happy; as Suzy Menkes put it, "Everything was subtle, sensitive and just right, showing Kane as a fast-growing talent."
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