There’s a very particular strand of Britishness that gets peddled abroad on to the European catwalks, often ending up on the back of some middle-aged, Milanese banker. It’s the land of the Mitford sisters, where women waft around in tailored tweeds or antique-looking tea-dresses and life is one long game of cricket.

So what in the 21st century do brands inextricably linked to a British way of doing things produce fashionwise? The answer of course is to go all modern. It’s something that Aquascutum, Jaeger and Burberry in recent years have all honed down to a fine art. Parachute silk skirts? We’ll take them by the dozen. A few exposed zips? Why the heck not? Some bling studding? Add that to both the four-inch platforms and the shoulder bags.

It’s certainly the way that Mulberry is headed. Under the direction of Stuart Vevers, it has come to acquire an edgier veneer. The bags are now toughened up, they come in larger sizes, endless shades of coloured patent and are embellished with multiple, hardware fastenings. There was a similar feel to the utilitarian-themed clothing that was presented under the umbrella of London Fashion Week yesterday.

Biker girl in all her incarnations – zip-up minis, leather waistcoats, denim jumpsuits or baggy tie trousers – were prevalent for next summer, although at an inflated price of similar garb that will undoubtedly be available at Topshop in six months. This being a leather goods company there was also, unsurprisingly, a lot of leather too, although it should be pointed out that this is a trend that is gathering momentum just now.

Prettier pieces on show were the coated, cotton dresses and particularly striking was an emerald-green version that featured flattened-down, appliqué rosettes (much nicer than they sound).

If Mulberry looked to the future, then Asprey, another label that is British to its very core, seemed stuck in the past. This is a company that has had a ropey time of late. Last year it split from its fellow luxury goods brand, Garrard, after an eight-year partnership, and was narrowly saved from going into administration by Sciens Capital and Plainfield Asset management. Redefining the brand’s target market has certainly proved a thorny issue and Hakan Rosenius did not, in his second season, appear to have any more answers.

Saccharine, screen-printed roses on extravagantly billowing skirts left you wondering who might actually get away with them. The more mature members of European royalty or a grand old dowager perhaps? But that’s hardly the fan base on which to build an international brand. Shimmering, swing brocade coats did little to improve on matters. More promising were the belted, double-faced cashmere coats or simple day pieces: a sherbert-lemon silk top or skinny trousers, items that could reasonably be developed under the “stealth wealth” umbrella in the future, potentially diversifying the label’s appeal.

So did London Fashion Week this season live up to the hype? There was a successful turnout from up-and-coming designers with notable collections from Marios Schwab, Richard Nicoll and Modernist. The stalwarts (Betty Jackson, Nicole Farhi and Paul Smith) were consistently impressive and as London closed with Stella McCartney’s collection for adidas, the fashion circus is gearing up once again to watch Milan’s offering when it starts on Monday.

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