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"Chanel surrounded herself with the symbol of the lion—she looked at it as a source of protection." PHOTOGRAPHY COURTESY OF CHANEL —BENJAMIN COMAR debuted its homage to that long-ago moment in Venice, a high-jewelry collection that Comar says has the potential "to become a very strong theme for us in our future, just as important as so many other symbols of the house"—an idea that is sure to play a role in the Boston boutique and beyond. Titled Sous le Signe du Lion ("Under the Sign of the Lion"), the 58-piece collection explores Coco's love of the big cat, with several designs taking their inspiration directly from the abundance of lion sculptures found on tabletops throughout Chanel's famed apartment above her Paris atelier at 31 Rue Cambon. "She surrounded herself with this symbol—she looked at it as a source of protection," Comar says. Not unlike haute-couture collections, high jewelry is often considered equal parts design laboratory and a showcase for the pinnacle of handcraft, resulting in dazzling, often one-of-a-kind ornamentation, which only the most moneyed clients on the planet might afford. Sous le Signe, which collectively has been dubbed with the more informal moniker of Leo, is a terrific example of this duality; brilliant jewels in both look and technique, boasting aesthetic details that offer the ability to endlessly influence and permeate the more affordable aspects of the label. The lion and the designs seen here indeed promise just such a scenario, according to Chanel's top execs. "Elements like the camellia or two-tone shoes have become synonymous with Chanel, but more than all of those, the lion was perhaps most personally connected to her," affirms Barbara Cirkva, president of Chanel's fashion, watches, and fine jewelry division. "We see this as an element that will work its way into the collection for many years to come." Leo has been two years in the making (a trio of capsule pieces appeared in last year's commemorative 1932 high-jewelry collection), and Comar notes that this latest inspiration sparked conversations that had never occurred in the Paris ateliers in which Chanel jewelry, of both the high and fine variety, is crafted. "The lion's face presented its own unique set of challenges," he explains. "If there were too many hard edges, his face became like RoboCop, very robotic-looking; too few edges, and there was no character to his face. In every piece, this had to be considered very carefully." Comar points to pieces such as the Lion Celeste brooch in white gold and diamonds, with one paw perched on a globe. It is notable for its innovative open work, which allows such a sizable statement to still feel light and easy to wear—principles Chanel herself always demanded, he says. "Diamonds are not heavy; it's how you work the metal that affects the weight of the piece," Comar explains. The Lion Talisman group, meanwhile, combines several codes of Chanel jewelry, with one look featuring the lion's head crafted as a medallion mixed with golden, ivory, and Tahitian black pearls in a lengthy necklace that is nothing if not tactile, longing to be touched. "For me this is totally what Gabrielle Chanel was all The Lion Royal earrings in 18k white gold and platinum, set with 952 brilliant-cut, 2 pear-cut, and 8 fancy-cut diamonds. BOSTONCOMMON-MAGAZINE.COM 140-145_BC_F_Fashion_Holiday_13.indd 143 143 11/1/13 1:42 PM