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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 he***ork: in fabric prints, or shaped into diamonds and pearls; embossed on butt***, preserved in corsages. And in her salon, they glittered as crystals from her chandelier, and were carved into her Coromandel screens. These replicati*** 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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