Vivienne Westwood once stated that the patrons of the 16th century artist Titian would have seen his nudes “with Playboy eyes,” and she had a fascination with the eroticism often hidden in historical art and period costume. The collage of imagery in this parure nods to that provocative idea, a photographic print of lascivious lips and tongue positioned on a necklace to nestle in the cleavage. The lips belong to a favourite Westwood model, Sara Stockbridge, from an image taken of Vivienne Westwood’s Autumn/Winter 1987 collection Harris Tweed by photographer Declan Ryan. The roses are drawn from the work of botanist and painter Pierre Joseph Redouté, whose floral imagery often inspired Westwood prints.

The Azelia style follows a classic Parure design, popular during the Victorian era - and often used as a decorative piece or for fancy dress. This piece appeared in the Spring-Summer 2018 collection, offered in brass, complete with printed stickers. The design features floral and pear-drop motifs, alongside an image of Sara Stockbridge's lips. Hardware-inspired elements are also offered through the brass claps, following Vivienne's signature Punk style. The design follows the tradition of assembling pieces together.

In the early 1970s, Vivienne Westwood used chicken-bones as unusual adornment;  halfway between garment and jewellery, the chests of a series of cotton t-shirts were affixed with chicken bones spelling out various simple words, such as ROCK, attached with metal chain links. Bones subsequently became an unexpected Westwood device, used here as the structure for precious pavé jewellery combined with classical bijoux motifs such as teardrops and ribbon bows.

The Skeleton motif was first introduced in the early 1980s by Vivienne and Malcolm. Bones were first seen in 1972 'Let it rock' on t-shirts, with chicken bones. This Bagatelle piece is offered in brass, adorned with cubic zirconia details. The design follows a classic Parure style, complete with classic bow motifs - popular during the Victorian era - and often used as a decorative piece or for fancy dress.

Vivienne Westwood often challenged traditional ideas of value and preciousness in her works, colliding typical forms with atypical materials to create an unexpected friction between tradition and modernity. Here, shapes and forms taken from traditional jewellery are reinterpreted using Coca-Cola cans, expressive of both Westwood’s deep ecological concerns and her ingenuity in elevating everyday items, challenging the status system of fashion. Ironically, the bright paint hue brings to mind rich rubies. 

The Cherry style follows Vivienne's DIY approach to design, where inexpensive or recycled materials would be combined to create something new. This piece features elements of Cola cans and brass, following a classic Parure style, popular during the Victorian era.

A girandole is an earring design especially popular in the 17th and 18th centuries, where a trio of droplets are suspended from a central motif, usually a ribbon bow. Delicate and feminine, the animation of the free-falling drops and sparkling gems draw attention to the face. Although executed in precious palladium and peppered with tiny diamonds and sapphires, in Vivienne Westwood’s interpretation – named Gainsborough, after the English 18th century portrait artist Thomas Gainsborough – the large spaces traditionally intended to frame jewels are left open, suggesting the ghosts of gemstones. The result also resembles fragile lace, or a spider’s web.

The Gainsborough style appeared in the Spring-Summer 2013 'Climate Revolution' collection, offered in Palladium metal. The design is inspired by the nobles escaping the French revolution, who carried diamonds with them - leaving only the frame mounts behind, as they were less valuable.