How much Britishness can the fashion world take? An odd question coming on day two of Milan Fashion Week but the stereotypical (and dated) perception of British dress — Barbours, heraldic headscarves, tartan, paisley and pussy-bow blouses — is a style that is endlessly peddled on catwalks abroad. At best it manages to reference the above with a knowing wink and somehow inject a new design twist here and there. Labels such as Aquascutum did exactly that last week in London, effortlessly reinventing the classic trench coat and giving it a modern spin. At worst, the country pile cliché is plonked straight on to the catwalk with no hint of irony and lacking the irreverent touch that is inextricably associated with this way of dressing — or at least the way stylists for glossy magazines like to put it all together for a photo shoot.

Perhaps it takes a Brit to get it right? Stefano Gabbana and Domenico Dolce certainly struggled a little with their homage to tartan dress. The mood felt heavy at times; where was the joke? Was there even a joke? And it’s a shame because the D&G line is usually light-hearted and full of humour, having begun in recent seasons to address the needs of not only a savvy, youthful consumer but an increasingly sophisticated one, too. And while it was a good thing that there weren’t the usual vast expanses of flesh (especially because we’re viewing clothes that are to be worn for next winter), even then, three-quarter length heavy wool skirts with elasticated waist bands seemed excessively prim.

The pastiche of tartan shirt over tartan skirt and plaid tights was also an overkill. It needed to be broken up although, granted, this was more of a styling issue. When pulled apart there were certainly some gems. Cape coats and Seventies corduroy dresses were win-win additions to the winter wardrobe but hard to make out sometimes among the never-ending parade of kilts.

Perhaps it doesn’t matter. It will (hopefully) never be worn head to toe and anyone wanting to buy a bit of plaid will find that, thanks to the high class of Italian manufacturing, it might possibly even be better made.

There’s no irony lost that Pringle, a name Scottish to its very core, also shows in Milan. Happily, there was not a stitch of tartan in sight. In another role reversal, Clare Waight Keller, the creative design director, showed gorgeous cashmere coats, some duffle-shaped, some funnel-necked, and all illustrating the best that the “Made in Italy” label can offer.In moody shades of burgundy, violet and navy she played with detailing, getting it right in her trompe l’oeil military detailing on collarless jackets or on the woven rows of embroidery on knitted tops. Ombre shading in matching jewel colours featured on skirts and dresses. Unlike previous seasons, there were no strong prints to overpower the collection. In a cohesive design statement, she managed to look beyond Pringle’s heritage without forgetting where the label came from.

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