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Later, many years later, when Chanel had slipped away from her life as a kept girl, replacing its shadowy uncertenties with what looked like the security of a self-made woman, the white camellia would appear in her work: in fabric prints, or shaped into diamonds and pearls; embossed on buttons, preserved in corsages. And in her salon, they glittered as crystals from her chandelier, and were carved into her Coromandel screens. These replications were in some sense true to life, in that they had no scent - for the camellia is without fragrance, and therefore does not decompose from sweet-smelling purity to the odour of decay. It is, perhaps, the perfect symbol of death as portrayed on stage in its least brutal way; the death of a courtesan or an abandoned woman, tragic yet compelling for an ...

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