A means of transporting keepsakes and good luck amulets with you, the charm bracelet became fashionable amongst 19th century European nobility thanks to Queen Victoria’s enthusiasm for the device – an idea that would doubtless appeal to Vivienne Westwood. This piece magnifies a charm bracelet to become a necklace, hung with Westwood icons and emblems. Those include dressmaking scissors, a corset, a gilded rococo frame and dancing satyr, and a fig leaf, which was famously appliquéd onto flesh-coloured tights for the Autumn/Winter 1989 collection Voyage to Cythera.

The Anglomania necklace was first seen in the 'Anglomania' collection from Autumn-Winter 1993/94, which looked to encompass Vivienne's whole fashion career, from 1970 onwards. The piece is made from recycled brass, complete with classic charms, synonymous with the house's rich iconography. Elements of fantasy, rebellion, romance and glamour echo the ethos of the collection.

For the Autumn/Winter 1996 collection Storm in a Teacup, tropes were twisted that could already be recognised as “classic Westwood”, in a show inspired by the idea of outfits blown by the wind. Alongside spiralling evening gowns and asymmetric tartan suits, Westwood’s pearl necklace was reconsidered – Andreas Kronthaler proposed they create necklaces that appear to have been clawed at and broken, random pearls subsequently lost. The design references ideas of distress introduced in punk creations in the 1970s, and which Vivienne often used in subsequent collections - although it is refined, the “missing” pearls replaced with bands of gold.

Pearls are an essential element of the house’s iconography, evoking a sense of grandeur and luxury. The Broken Pearl necklace was first introduced in the 'Storm in a Teacup' collection from Autumn-Winter 1996/97, inspired by the decorative schemes of Rococo art. This piece features glass pearls, with Vivienne's signature 'Broken' elements, designed for women who were 'facing up to the horror of uniformity and minimalism'.

The teddy bear motif first appeared in Vivienne Westwood’s Spring/Summer 1988 collection Britain Must Go Pagan, as a print across the front of a satin corset. This necklace similarly transforms a child’s toy into a sophisticated adult design, using the bear motif as the base for a crystal pavé pendant with thick chain.

The crystal-embellished Giant Teddy Bear necklace was created for the Spring-Summer 2019 collection 'OK...It's Showtime' - which featured oversized jewellery pieces. The Teddy motif is now a signature style of the house, having appeared in many ready-to-wear styles throughout the seasons. Vivienne’s love for the teddy extends beyond her collections. She once took part in an auction for which she designed an eco-warrior Build-a-Bear - that wore a Climate Revolution t-shirt and helmet, to raise money for the South African charity Operation Bobbi Bear.

An important component running throughout Vivienne Westwood’s work is the idea of bricolage, constructing new pieces from existing objects, thus changing their function and status. Allied to the Dadaist art movement and Marcel Duchamp’s “readymade” sculptures, these earrings elevate the simple paperclip, executing it in white gold, diamond and black spinel and using them as the base for chandelier-style earrings. Part of this process is rediscovering the beauty of form found in common objects – celebrating the ordinary.

The 'Hardcore' earrings were first designed as a mock-up exercise for Vivienne, who would often wear paperclips herself. The inspiration derives from the Hardcore diamonds collection from Autumn-Winter 2005/06, offered in White, Gold and Black spinel and diamond details at the time. The design was later reintroduced in the Autumn-Winter 2005/06 collection 'Propaganda.' The design featured paperclip elements, conforming to 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.

Inspired by the Greek mythological figure of the satyr – known for its wild freedom – Vivienne Westwood first used horns as an accessory in the Spring/Summer 1988 show, Britain Must Go Pagan. Originally in clear resin attached to a leather band, they made appearances over several of Westwood’s late 1980s collections. In 2004, for the Exhibition collection – inspired in part by her own retrospective at the Victoria and Albert Museum in London – Westwood reworked this design, newly refined in brass with pavé crystal. Playful and mischievous, they are a style she often wore herself. Andreas Kronthaler stated that these horns are his favourite piece of Vivienne Westwood jewellery.

The horn motif appears as a classic element of satyr (in Greek mythology, a satyr is one of a class of lustful, woodland gods. In Greek art they were represented as a man with a horse's ears and tail) drawing from Vivienne's fascination with Greek Pagan history. The design was originally offered in Perspex and lights in the ‘Civilizade’ collection from Spring-Summer 1989.  The Horn Tiara featured in the Gold Label collection, titled 'Exhibition' from Autumn-Winter 2004/05 - which repurposed classic motifs from the house's rich archive. The piece comes in brass, complete with crystal-embellished details.