You have an outstanding portfolio and your work is mature, so it's difficult to imagine offering any criticism that would be useful to you. Nonetheless, I'll share with you a few thoughts about my response to this image.
What do you see in Chanel? I rather doubt you approached this project with Hal Vaughan's book in mind. Clearly you've done some reading. You show us an intimate portrait of Coco that juxtaposes the persona of the tireless worker that her friends knew with the sharply defined elegant figure she is famous for creating.
Of all the photos in the series that you've shared, this one shows us a Coco that's least like the Chanel brand. Her eyes are downcast, her shoulders slumped, her smart shirt a little frumpy and loose. Even the droopiness of the tape measure suggests a tiredness. All of this liberation, all of this expression is hard work. Coco the indefatigable? Perhaps not. She's only human, after all.
The distance between Coco and the mannequin in this shot is pregnant with meaning. The figure of the mannequin is almost foreboding, like a shadow--the color of eyeshadow, incidentally, is similar to the color of the coat--that stands taller than the person who casts it. Is this masculine figure a completely external other, a projection coming to life, or, perhaps, should we read the fatigued Coco as a shadow figure?
If it seems so early Twentieth Century to give a Jungian reading to this work, that is, inappropriately outmoded, I have to say your expertise with lighting and composition invites this sort of psychological interpretation.
The space between Coco and the mannequin is hardly empty. The table almost screams Chanel with its sharp lines and its simplicity, and then we have the hats, two of them, one dark and the other light. The hat stands are brilliant, by the way. Kudos to We Do if that was her find.
The masculine themes here obvious. The feminine touches are more subtle but no less important: the little wave of the hair, the roundness of a lapel, the brims of the hats, the pearls just so slightly loose around Coco's neck, as if they can't decide whether to be sloppy or refined. It's a beautiful little extravagance, and a little sad.
One criticism I have relates to the textures. I'd like to see more texture in the tweeds and all around. Perhaps this is an issue of depth of focus, but I suspect the digital presentation may be removing some texture you would rather show (and also introducing some noise that you don't want around the edges).
Thank you for sharing your art. If I'm not convinced this is your best work, it's only because you've created such a powerful impression with your earlier shoots. You really are wonderfully gifted, and this photo is a fine addition to your portfolio.