Created for Vivienne Westwood’s Autumn/Winter 2001 collection Wild Beauty, this necklace is actually recycled from fragments of older jewellery pieces in crystal and brass. Broken apart and reassembled, they also echo a long historical tradition of re-designing gems from older fine jewellery pieces into new designs. That action reflected the inherent worth of the precious stones – here, the action is emblematic of Westwood’s urge to find alternate value in unexpected places.

The Garance necklace appeared in the Autumn-Winter 2001/02 collection, titled 'Wild Beauty' - which symbolised universal love, spiritual law and spiritual awakening. The piece itself is made of reassembled pieces from broken jewellery found in car-boot sales and markets. The style conforms to Vivienne's signature DIY approach, which looks to create something new and beautiful from the old.

Time is an idea Vivienne Westwood often explores: the façade of World’s End features a 13-hour clock, its hands spinning backwards, and Westwood’s investigation of past fashion has been well documented. Here, components of antique watches are decontextualised and appropriated to form the intentionally naïve form of a bird, resembling a Dadaist assemblage of discovered pieces, an idea that originated with the cubist constructions of Pablo Picasso, whose art Westwood had printed onto clothes in the early 1980s and whose radicalism she emulated, consciously or not.

The Bird Watch brooch style appeared in the Autumn-Winter 2005/06 collection, titled 'Propaganda' - featuring a design that follows Vivienne's signature DIY approach. The 'Propaganda' collection marked a reset of both Vivienne Westwood's aesthetics and intentions. Her work would from now on be overtly and explicitly shaped by her political, social and environmental concerns. The piece itself features reassembled pieces from broken watches and tools, by means of creating something new from the old.

In 1983, Vivienne Westwood first used spoons and the lids of tin cans as jewels and buttons for her Punkature collection – a direct reflection of the idea of the artistic notion of objet trouvé (found object). Allied with her ecological activism, here spoons are recycled and transformed into ‘precious’ jewellery simply by suspending them from the ear. Westwood’s design is often about transforming perception of the existing as much as it is creating anew.

The Spoon Earrings appeared in the Vivienne Westwood Autumn-Winter 2019/20 collection, named 'Homo Loquax.' The style follows Vivienne's signature DIY approach to design, where something old would be used to create new, beautiful pieces.

Preciousness can have different meanings: this necklace is hand-crocheted from wool and while its material may seem humble its final form represents hours of costly labour, allied to the work within haute couture clothing so cherished by Vivienne Westwood. Highly sophisticated and intricate hand-knitting featuring complex motifs and patterns was a craft-form Westwood often included in her collections: she herself was an expert knitter and made many of the samples with her own hands.

The Crochet earrings appeared in the Vivienne Westwood Autumn-Winter 2000/21 show named 'Winter' - referencing a sonnet by William Shakespeare. Vivienne would hand-knit herself. This piece follows a classic Parrure style, popular during the Victorian era - and often used as a decorative piece or for fancy dress.