Beyond the double C, the camellia blooms across CHANEL jewellery, bags, shoes, linings, knitwear, coats and dresses.
山茶花同樣遍佈珠寶、手袋、鞋履、內裡與洋服。看看它為何如此 CHANEL。
In Japan, the camellia is known as tsubaki. Its layered petals form a precise, rounded silhouette: decorative, but never sugary. Very CHANEL.
CHANEL traces the story to 1913, when Gabrielle Chanel wore a white camellia at her belt. From there it moved into dresses, blouses, hats and jewellery, eventually becoming a symbol almost as recognisable as the double C.
BLACKPINK’s JENNIE（金珍妮） understands the simplest formula beautifully: black clothing, one white camellia, nothing else. It is classic, slightly sexy and instantly recognisable without a loud logo.
A white camellia brooch can lift a black jacket, dress, knit or hat. One small flower, and the whole look appears more considered. Clever.
White is the classic: clean, poised and quietly sensual. Red is bolder. In the N°1 DE CHANEL imagery featuring Hoyeon Jung（鄭好娟）, the red camellia looks young, vivid and almost electric—an entirely different face of the same flower.
The camellia is often linked to Alexandre Dumas fils’ La Dame aux Camélias, a story said to have fascinated the young Gabrielle. Another deliciously dramatic legend claims that wearing a camellia once signalled: “I am ready to accept temptation.”
A charming story,
but still a story.
Gabrielle never fully explained why the camellia mattered so deeply to her. She simply surrounded herself with it—in chandeliers, crystal decorations and design details. So many clues, very few answers. Rather CHANEL, really.
The camellia is visually striking, but it does not release the strong perfume we associate with roses or jasmine. No dramatic “I am a flower!” entrance.
To express the idea of a white camellia through scent, CHANEL turned to gardenia, layered with jasmine and orange blossom. A flower without a strong scent also has another advantage: it never argues with perfume, fabric or colour. A remarkably well-behaved beauty.
The camellia is far more interesting when it leaves the jewellery box. It appears as embroidery, jacquard, sequins, lace, knit patterns and removable brooches.
Then there is the private version: turn over a tweed jacket and discover camellias across the silk lining. Does anyone need to decorate a place almost nobody sees? CHANEL does.
Many of our long-time clients prefer this quieter language to a large visible logo. A logo announces itself. A camellia leaves a softer memory—and every technique gives the flower a different character.
Petals are cut, shaped, layered and assembled until a flat piece of fabric becomes a flower with movement and volume. The finished camellia looks effortless; the work behind it is anything but.
In the 2018 “NOT A FLOWER” jewellery campaign, the message was wonderfully direct: do not give the person you love merely a flower. Give a camellia. At this point, apparently, it is no longer a flower at all.
Next time you look at a CHANEL piece, do not stop at the front. Check the shoulder, buttons, knit pattern and lining. A camellia may be hiding there.
A coral lace dress with a camellia at the shoulder, fluttering ribbon and softly flared hem.
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A black-and-white knit with camellias around the neckline—easy with a skirt, trousers or denim.
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Grey and pale-pink camellias cover this runway jacket, with clear sequins catching the light.
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Three removable camellias in the matching tweed make this suit unusually versatile—and rather fun.
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A soft, muted pink knit with a camellia and CC detail that brightens the face without looking sugary.
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Raised camellias run through a red wool-and-cashmere knit that brings warmth to winter black and grey.
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