It's an ambitious composition and all about subject and theme.
I've found that when every bit of the painting is very high key and super saturated, it doesn't leave room for emphasizing any particular part. Sometimes starting a little more muted then lets you bring out certain parts of the canvas as a way to lead the viewer's eye. Right now, the lesser interesting parts of the image are given as much emphasis as the more important bits. Just something to consider.
If you do like the saturation throughout owing the dazzling effect of color on the senses, it could be looked at stylistically like an surface of colored stone or glass inlay -- more like a jeweler's consciousness which could lead to further exploration of that direction. I also am reminded of a painting done, co-incidentally, for the Florentine Wool Worker's Guild from the early Renaissance era, that underwent a surface cleaning similar to what they did with the Sistine Chapel. And when the painting was cleaned, the colors were all super bright and saturated throughout, not unlike this. So maybe you are very much in a consciousness of people who dye fabric, and high saturation is, after all, the point. 



"Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream