Most old English country houses nearly always had something from China mixed in among the Georgian furniture and faded chintz. It might be huge blue and white ginger jars brought back by an ancestor who had voyaged to see the Great Wall. Or it could be some ancient textiles, a vast stone statue or even the odd piece of Ming furniture. British merchant adventurers in their day travelled far and wide and trophies from China were high on their list of desirable goodies to bring back home. But if they were to find themselves alive and well and looking at China Design Now at the V&A, they would be astounded. Their China and the China of today are almost two different countries.

The Cultural Revolution destroyed much of the gentle aesthetic standards of old, and today’s designers seem to be rushing into the future at a startling rate. Increasing contact with the outside world and a more liberal economic climate have brought an explosion of creativity, which, although clearly and wonderfully Chinese, seems to have precious little to do with the past.

China Design Now is one of 800 events taking place across Britain designed to transform our attitudes to China. The truth is that China is a fascinating place at the moment. Besides throwing up more construction and entrepreneurial zillionaires than we have hedge-fund managers, the new-found wealth has re-invigorated the cultural scene.

On a recent trip to Shanghai I found the city buzzing with artists and designers, all of whom were working away in small ateliers, producing fresh, avant-garde work. Although much of their output was slightly conflicted, appearing to have one foot in China and one in the West, nobody could call it dull. Bright neon colour and a certain ironic play on kitsch are strong themes, and the V&A will be reproducing part of the glorious Technicolor Crystal Bar of the TMSK restaurant in Xintiandi, Shanghai, with its shocking-pink stools topped with maroon and gold.

The V&A’s remit is broad: everything from graphic design to sociological issues, film, youth culture, fashion, photography and digital media. Although all tremendously fascinating for those interested in the huge cultural changes sweeping China, for those who want to know about objects that are immediately available, the complementary show at Liberty of Regent Street may be of more direct interest. Look out for Lisa Cheung’s marvellous Dragon Chandelier, priced £280. It is part of her Chinese Princesses collection, which harks back to traditional Chinese paper-cutting traditions. Look out, too, for Lin Jing’s ceramics (also on show at the V&A), for word has it she is the ceramicist to watch. Her elegant yet simple tableware is unlike anything else I’ve seen. A simple saucer costs £15.95, but a whole tea tray and service will run to £175.

WOKmedia is a bit of a hybrid. Its designs are distinctly Chinese in inspiration but its founders, Julie Mathias and Wolfgang Kaeppner, hail from Europe. The company’s limited-edition series of playful furniture is called “Made in China” and is inspired by traditional Chinese designs. Embedded into the furniture are hand-carved wooden toys. Each piece is made to order and prices start at £1,500. More affordable and colourful is the furniture from Design MVW. Look out for the chair that sports a wildly colourful floral design: very striking and only £380.

This is only a glimpse of the cauldron of creativity in China. Until now the Chinese have mostly been known in the West for making cheaply what other countries have designed. Here, at last, is a chance to see what Chinese designers can do when they are given the chance.

China Design Now at the V&A, London SW1, and the complementary exhibition at Liberty, Regent Street, London W1, run from March 15 to July 13

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