10 Questions with Victoria and Albert Museum Jewellery Buyer Anna Chase Roberts

Interview with Victoria and Albert Museum Jewellery Buyer Anna Chase Roberts.

As Junior Jewellery Buyer at the Victoria and Albert Museum, Anna Chase Roberts holds one of the most coveted roles in the design world — blending history, artistry, and innovation to curate collections that sparkle with meaning. From reimagining the decadent style of Marie Antoinette to championing modern makers, her work bridges the past and present with an expert eye for craftsmanship and narrative.

In this exclusive 10 questions with interview we We sat down with Anna to uncover what it’s really like sourcing jewellery for one of the most iconic museums in the world — and what pieces she believes every woman should have in her collection.

1. As Jewellery Buyer at the V&A, you have one of the most enviable jobs in the industry. What drew you to this role — and what does a typical day look like for you?

I’ve worked as a buyer in the heritage sector for many years at different London museums. My background is in the arts, so joining the Victoria and Albert Museum — which has such a strong reputation in the field of jewellery — was a great opportunity to focus more closely on that area.

I’m part of a collaborative buying team, and the role is varied. I might be meeting with designers to look at new collections, making selections, or working on sales analysis. I also spend time researching upcoming exhibitions, supporting the shop staff with display and product knowledge, and meeting with curators.

2. The Victoria and Albert Museum is home to one of the world’s most significant jewellery collections. How do you approach sourcing and curating modern pieces that honour that rich heritage?

We aim to offer a wide variety of styles, materials, and techniques that reflect the breadth of the museum’s collection. Alongside traditional gold and silver, we feature pieces made from more unusual materials such as enamel, wood, PVC, patinated brass, and upcycled components. We love to focus on craftsmanship, working with designers who handmake their pieces using traditional techniques

Our designers come from all over the world — including Argentina, India, Italy, and beyond — which brings a mix of influences and perspectives to the range that feel relevant to the museum. 

3. You work closely on collections that support major exhibitions, such as the forthcoming Marie Antoinette. Can you walk us through how you develop jewellery ranges that reflect each exhibition’s narrative?

The starting point is always the exhibition content – looking at the object list and hearing from curators to understand subject. From there, I do independent research, and we discuss in depth as a team. Each exhibition is totally different, so there’s always a learning curve – it’s given me a newfound interest in history. 

Inspiration often comes from the jewellery on display, but also from artworks, textiles, architecture, or materials used in the exhibition. I look for designers who have a connection to the subject matter. Where possible, I love to collaborate with makers to create bespoke, exclusive pieces inspired by objects in the exhibition.

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4. How are you approaching the decadent, historical elegance of Marie Antoinette?

Jewellery was important to Marie Antoinette’s image — and even her downfall — so it’s a strong element of the exhibition. To build the range, I focused on key motifs and materials linked to her style: bows, pearls, chokers, cameos, pastel colours, and diamonds. The aim was to capture that decadent, hyper-feminine elegance with a hint of frivolity and excess. 

5. How do you balance timeless design with commercial appeal when selecting or commissioning jewellery for the V&A shop?

Generally, timelessness and commercial appeal go hand in hand — classic styles like hoops or simple chains are always in demand. The challenge is finding the right balance between those proven pieces and more innovative or unusual designs that reflect the museum’s creative spirit. It’s about offering a mix that feels both accessible and distinctive.

6. Are there any up-and-coming designers or jewellers you’re currently championing who embody the kind of craftsmanship the V&A celebrates?

We’re always keen to support and platform independent designers whose work we love. One recent example is Jo Cooper, a Hertfordshire-based jeweller who handmakes delicate silver pieces inlaid with garnets, moonstones, and other stones. Her work is a great example of traditional techniques with a contemporary feel.

7. For Chic Style Collective readers looking to build a meaningful jewellery wardrobe, what pieces would you suggest investing in first — and why?

Jewellery is deeply personal, so building a meaningful collection isn’t about following trends — it’s about finding what resonates with you. I’d say don’t feel restricted by rules like not mixing metals. Start with pieces you naturally gravitate towards — whether that’s a certain colour, material, or style — and build from there. The pieces that feel most you are the ones you’ll keep wearing.

8. What are your personal favourite pieces from the V&A jewellery shop? Are there any bestsellers or hidden gems you love to recommend?

A recent favourite is a collection by legendary designer VICKISARGE. It’s inspired by Victorian pieces from our archive, but reimagined in their signature bold, glamorous style. It’s a great example of how historical reference can be made modern and playful — and it’s been really well received.

9. How does working within a museum setting differ from traditional luxury retail when it comes to product development, storytelling, and sourcing?

It’s quite different. While we still work to fashion seasons, we also develop ranges tied to the museum’s exhibition schedule, which adds another layer to planning and sourcing. Exhibitions often lead us to explore more unusual designs that you might not see in traditional retail.

We also have the advantage of drawing inspiration from the museum’s vast archive — not just jewellery, but all kinds of objects and artworks — which really shapes the storytelling behind the products.

10 What can we expect next from the Victoria and Albert Museum jewellery collection — any exciting new ranges, collaborations or exclusive drops on the horizon?

There’s a lot to look forward to. While I can’t reveal too much about upcoming exhibitions just yet, we’re working on some exciting collaborations with designers inspired by pieces from our archive. 

To learn more about the Marie Antoinette exhibition, visit Victoria and Albert Museum or follow along on social media @vamuseum for the latest updates and inspiring content.