Lagerfeld ladles on the jewels at Chanel couture

Across the lawn outside the glass extension where Chanel showed its spring/summer 2003 couture collection yesterday, a woman walking her dogs could be seen being bustled off the grass by security, lest she pollute what was supposed to be a perfect Parisian backdrop.

Even though there are few clients for these ultra-expensive clothes, couture is still big business that requires all the details to be exactly right. Unfortunately only half of the outfits designed for Chanel by Karl Lagerfeld lived up to the standard.

Lagerfeld's skill at the house is to take the design trademarks of founder Coco Chanel and twist them each season to create something new. He was at his best in this collection when sticking to this slender-silhouette discipline, in particular, the daywear suits that played with the idea of a gradual disintegration of the fabric used in the garments.

The classic tweed suit appeared normal at the top, but, from the elbows down, the material flecked, until all that was left at the wrist was a lining of tulle. The same effect was rendered towards the hem of the skirt, making an outfit that was both interesting and very elegant.

This breezy daywear was heavily accessorised with strings of pearls, and as the collection went on beading became more prevalent. So much so that eventually Lagerfeld sent out a model in a 20s-style pale-pink strapless dress that had rows of full cellophane bead sachets sewn across it. Only a woman with a strong sense of humour would get away with wearing that.

The problem with the dresses was that they broke from Chanel's traditional clean lines. A jumble of patchwork effects looked clumsy, the occasional baby-doll dress did not flatter, and a dress, covered in chiffon petals, which was meant to appear to float, but in the end seemed only to add extra weight with its fussiness. Whatever it is that motivates clients to spend thousands of pounds on an outfit, we know that adding girth is not one of the reasons.

There were some lovely pieces, like the chiffon dress the colour of vanilla ice cream that was dyed pink towards the edges, and a diaphanous dress of large sequins.

But at couture you want to see pieces that show their value, not just in the quality of the couture craftsmanship, but in how they would enhance any wearer. Tellingly, the dog walker outside the window did not attempt to stop and peer in, but simply carried on her way.