As a show of separate exhibitions, it's quite successful. But as a whole, it falls flat. There was little overall wow factor, and one didn't come away from the exhibition particularly enlightened by the subject matter.

Naturally for the museum, the quality of the pieces on display is exemplary. From 18th century embroidered men's breeches through 1920s Vionnet up to Viktor & Rolf, the exhibition hits almost all the most important names and movements in fashion and costume in the last 300 years. (With one glaring omission: a distinct lack of a certain Charles Frederick Worth.)

"Couturier Superstar" was developed in conjunction with the E2 label, created by Michele and Olivier Chatenet, who rework vintage pieces in a hip modern style. Their presence was felt in the three Dior originals on show. Who knew Dior had been so modern, with Comme des Garcons-style asymmetry in black and a huge pocket on the side of a jacket, just like in contemporary streetwear?

Numbering fans including Madonna among its clientele, E2s reinterpretations of classic couture are often beautiful. But when you look at some of their eye-popping combinations that could put Lacroix to shame, you realize that their strength lies in the fact that they're super stylists who do a bit of creative sewing. The three reworked Chanel dresses from the '50s and '60s bore a strong resemblance to this season's Prada.

In fact as you walk from the first floor of the exhibition, mainly everything pre-1960s, to the second floor (everything from the Sixties to the present day), you can play a game of "spot the rip-off" -- like Schiaparelli's obvious inspiration for YSL and Galliano, and the odd Lanvin selection that more than called to mind Jeremy Scott's Barbarella-esque fall collection.

With each installation comes a helpful and illuminating selection of related memorabilia such as accessories, clippings from magazines or books, or, from Pierre Cardin, a slew of licensed products. The problem with the show, though, is a lack of coherence.