The Insignia was the most significant launch at the London Motor Show, showcasing the first production application of Opel's (Vauxhall in the UK) new design philosophy.

As the first car designed under the direction of GM Europe Vice President of Design Mark Adams, the Insignia has the form language and 'blade' feature line first seen on the GTC concept at the 2007 Geneva Motor Show. This works with a strong shoulder line, steeply raked roofline and great wheel to body proportions to give a premium sedan quality to the exterior. Shallow profile tires on up to 20-inch wheels further enhance the dynamic stance of the car. "I kept telling the guys to design around 17-inch wheel and make the design work around that," Chief Exterior Designer Malcolm Ward told CDN.

Though we had already seen the Insignia sedan at GM's European Design Center in Russelsheim, this was our first look at the hatchback version of the new car, which is 20mm higher at the rear of the roof and has a rear spoiler tacked on to achieve the same slippery .26Cd as the sedan. The higher roofline of the hatch also seems to accentuate the design's forward motion.

Designers we spoke to at the show, and the designer's night afterwards, were mostly impressed with what GM Europe achieved in the execution of the Insignia design and thus its general quality perception. But with distinctive designs such as the Citroen C5, Ford Mondeo and premium European market D-segment designs, most felt that the Insignia could have had a stronger theme to keep it from fading into the automotive landscape once its new car sheen has worn off.

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Review: Opel Insignia

Making its UK debut here, the new Alfa Romeo MiTo is the smallest Alfa Romeo model since the Alfasud in the 1970s. Smaller than the 147, it's a B-segment model based on the platform of the Fiat Grande Punto and aims to compete with the Mini, Ford Fiesta and Audi A1 (due next year) as a compact, fashion-orientated model.

Clearly, the styling theme is derived from the flagship 8C and carries several cues from that car, including the front face, kicked-up DLO and circular LED taillamps. But the translation from sketches to production 4-meter hatchback isn't entirely a happy one, particularly the front end. Seen from a few paces away, the Alfa shield grille tends to give a bird-like face due to the narrower width of the car, accentuated by the teardrop shape of the headlamps and a lower grille with turned-down ends, which increases the odd expression of the car. Some designers CDN spoke to felt it looked either surprised or slightly cross-eyed, mainly due to the graphics of the lamps, with the two arched-shaped eyebrows over the main ellipsoid bulbs.

The interior is more successful however - one of Alfa's best designs so far. The IP top surface has a typical Alfa twin-hooded instrument binnacle complimented with four round vents protruding out of the main surface to produce an arresting landscape of forms. Inset into this is a carbon-fiber effect soft plastic pad that envelops the instrument binnacle hood and sweeps down into the center stack. It's a great texture that suits the car well, especially when the interior is trimmed with typical Italian high contrast tan leather seats. Other features include a plug-in MP3 player and Bluetooth phone connectivity, using technology from parent Fiat's highly successful Blue & Me technology. Finally, note the DNA electronic control system paddle just in front of the gearlever, featuring three modes: Dynamic, Normal and All-Weather - adjusting the responsiveness of the throttle, steering, brakes and gearbox.

This is a very important new car for Lotus. It's the first all-new car since the 1995 Elise, the first Lotus developed from scratch for global markets, and the first 2+2 Lotus design since the 1974 Elite S1. It's also set to go head to head with cars such as the Porsche 911...

There are two core significant aspects to the design. First is its unusual combination of 2+2 seating with a mid-mounted engine; and the second is its Lotus aesthetic: lightweight, taught forms pulled over slim bones, a wraparound windscreen and details such as the chuckling mouth and twin circular rear lamps. These two aspects then interact where the discontinuous shoulder line, lower side rocker feature (two of the design's most interesting design details) and the short DLO successfully counteract the long wheelbase inherent in this configuration.

Behind the cream leather front seats of the interior is a narrow black leather bench seat with just enough space for small children. The light leather IP front, thick aluminum panels in the center console and instrument binnacle  - and details such as the polished billet aluminum armrest hinge and push-push round switches  - make the interior a special place to be in.

The few criticisms of the car we picked up on related to its classical quality - some citing little progression since the M250 concept of 1999. But, as Design Director Russell Carr told us, "[Lotus] wants our cars to be modern but classical". This makes sense as it will likely have a long product lifecycle and given that it is looking to compete with designs as familiar to us as the Porsche Cayman and 911. Beyond these slight criticisms, this car was very well received by the press and designers we spoke to. It carefully balances a unique and contemporary form with a classical edge: it looks lithe while still having substance, appears to be worth Porsche money and yet looks like a Lotus!

Related site: Lotus Evora micro-site