Due to declining numbers exhibiting and attending, LFW has been enduring hard times since the millennium, and the flight of its talent to busier fashion centres such as New York and Paris. However, this year, many of its stars came back in a great show of support to celebrate LFW's 25th anniversary: Burberry Prorsum quit Milan (for the season anyway), Vivienne Westwood's Red Label from Paris, Matthew Williamson from New York, and on the list goes. That was on the main catwalk schedule. Then there were the presentations -- more intimate affairs where old hands and new went for less pomp but presence at least -- by good but small labels, such as Clements Ribeiro, Orla Kiely, Temperley, Jasmine Di Milo and Maria Grachvogel.

But the venue being so diffuse was a problem. This season, LFW was centred in the former naval headquarters, Somerset House, in the Strand and also in a second, more modern, building in 180 The Strand. Somerset House is an awe-inspiring building of great historical importance, bearing tributes to British heroes such as Admiral Nelson. But it wasn't very conducive to the selling of clothes.

The work of many exhibitors, such as the great milliner Stephen Jones looked squished and so awkwardly placed, that one wanted to dive out of the room rather than peruse in comfort. I found it hard to imagine the world's leading press and buyers wandering around the rooms, or even liking the walk to the centre catwalk show venue. Luckily for them, many of the designers provided their own original venues to host their shows.

In contrast, 180 The Strand, where many of the younger, indie labels as well as the ethical section showed, was buzzy and upbeat. Here, I met young Irish jewellery designer Merle O'Grady and was mightily impressed by her collection of OTT yet elegant jewellery. Expect to hear more of her.

Also here, Pauric Sweeney had created a "vending machine" experience where for £1 you could try to win one of his bags or wallets. Those of you who are fans will appreciate that, as Sweeney's prices are now in exclusive street, a little "flutter" was more than worth the risk.

But what of the collections? Well, as many of you know, London traditionally has a reputation for dealing in dangerous, not necessarily wearable, clothing. Ideas and originality are what it is about and that is why Anna Wintour and Suzy Menkes and the whole of the fashion world make time for it. Here, greatness is born.

I remember being very disapproving in the past of some of the positively ugly and near misogynistic clothing that we women were supposed to want to buy. Well, it has been many years since London has provoked such a reaction from me and this year had me positively praying "Come back morbid Anthony Symonds/ early-Victorian-gothic-slasher McQueen -- all is forgiven". Even when London was being provocative during this last week, throwing out nipples and daringly slashed garments as options, it had all the oomph of a flat bottle of Prosecco.

Oh, there was cohesive direction -- for once. Everything was short, for instance, with the odd maxi dress thrown in. Flesh and grey and tons of black were also dominant -- and deeply depressing. For summer? Do those sound like colours that we will beat boutique doors down so that we dress to welcome in the spring?

Draping was huge, as was a lot of zip and chain embellishment. Cage shoes continue as a big trend as do Lanvin-inspired, Betty Boop type, platform shoes. It was all a bit early Sixties B-movie. And if you love the sound of it, then Sass & Bide and La Petite Salope are your guys for next season.

Interestingly, the young audiences seemed also to be favouring early Sixties style with their big, white, bleached-blonde hairdos, white make-up, heavily-kohled eyes and tomato red lipstick. And Peaches Geldof deserves an award for so diligently attending so many of the shows and allowing herself to be photographed graciously. I am serious, here! She and Alexa Chung really worked it.

Despite their using a lot of grey and such, I did like Preen's collection, especially the cut of their jackets and skinny trousers, especially in white cotton. La Petite Salope continues to get closer to the Preen aesthetic, too, which seems to be serving her well. But don't expect colour here either. I also liked Bora Aksu, Mark Fast and Luella, who did a surprisingly feminine and upbeat collection.

I was disappointed with Issa, Eley Kishimoto, Antonio Berardi and Twenty8Twelve.

But I have to admit to really loving collections by old hands such as Paul Smith, Nicole Farhi, Vivienne Westwood and John Rocha. They were also colourful, feminine and optimistic. I can't wait to see them in the shops.

Top Shop's New Generation sponsorship area is also really starting to reap some rewards. Whereas in the past some of the newbies they took to supporting seemed just that -- too new -- this season one could see commercial awareness, confidence and competence coming to light. And a little bit of the old London danger emerging at last.

So while all may be a bit flat on London's designer mainstream, all is not lost yet, methinks. Which was what Nelson's campaign on the seas during the Napoleonic wars also signified at a time when it seemed all was lost.

So maybe, Somerset House is the place to be after all; inspiration and courage.