This London fashion week, perhaps more than any other, I seem to be considering the demands of commerce when writing about the shows. That's neither a good nor bad thing, generally. It's simply a fact of fashion. This season it feels like a fact that's forefront in designers' minds, sometimes deadening their creative impact but other times pushing them to ingenious new heights. I'm thinking of Louise Gray when I write that, whose show yesterday was a personal best. Then again she's always been ingenious: the big difference this time was that you could actually wear it. Christopher de Vos and Peter Pilotto's offering this morning may have been hardcore digi-print at its most eye-popping, but you could easily have imagined you were watching our twenty-first century equivalent of Tom Wolfe's social x-rays sashay their way to a penthouse cocktail do or the Metropolitan Museum's Costume Institute Ball. Richard Nicoll (above) is the one I'm still thinking about, because rather than blandly accepting the idea of fashion as product first and foremost, his presentation seemed to question the illogical conclusion if our insatiable appetite for fashion. And, at the same time, offered desirable, wearable and (whisper it) saleable clothes. Christopher Kane is next.