As much cliché as it might be, the floral motif penetrated through the whole collection, not only the garden scene but also the embroideries. Anemones, buttercups, carnations, wisteria, and, of course, camellias were resembled in chiffon and organza. Petals by petals, and painted by hands, each flower was unique and ever so alive thanks to those petites mains at the atelier. The philosopher Heraclitus once argued “no man ever steps into the same river twice.” As for Chanel, no two petals are identical. Such exquisite craftsmanship was lavishly experimented on French Haute Couture. Seen on the dress, the transparent camellias gave dimensions to the embroideries and added a touch of austerity. Dali’s single ear of wheat, an oil painting given to Chanel, was multiplied in crystal beads on Amanda Sanchez, mimicking constellations on the sky. Hair stylist Sam McKnight, who is also appreciated for his Instagram garden, even transferred his flower-growing magic onto the models’ heads, creating a prolific floral richness attached with black veils. The veils complemented the look with a sense of mystery, blurring out the face features as if casting a shadow. Was it reminiscent of the 1937 image of Gabrielle Chanel photographed by Cecil Beaton or simply an ode to the flowers on the Coromandel screens? Either way remained Chanel.