As bones are a Westwood motif used since the 1970s, it was inevitable that an entire skeleton would be proposed: the motif was first used as earrings in Westwood's Autumn/Winter 1995 Vive La Cocotte show, executed in silver. This motif connects with the notion of Memento Mori, a Latin phrase translating as ‘remember you must die’. Since classical antiquity, reminders of mortality were worked into artworks, but also into jewellery during the renaissance. During this period, motifs of skulls, cross bones, and even entire skeletons were worked into jewellery as reminders of the inevitability of death and therefore the preciousness of life. Here, the skeleton earrings are executed in wood and brass, which also give them the feeling of a totem or talisman.

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. Bones were often worn to remind the wearer of the inevitability of death, to make themselves feel less afraid. The 'New York' earrings, featuring skeleton figures, appeared in the Andreas Kronthaler Spring-Summer 2018 collection.

自1970年代起，骨骼便成為Vivienne Westwood的重要設計語彙，而完整骷髏形象的登場可謂必然—這一意象首次以銀質耳環形式亮相於1995秋冬系列「"Vive La Cocotte」"系列。其設計靈感源自拉丁諺語"Memento Mori（銘記死亡）"，這種追溯至古典時期的死亡隱喻，在文藝復興時期被廣泛運用於珠寶創作，通過骷髏頭、交叉骨乃至完整骨架等元素，警示生命無常，因而更顯珍貴。此處的骷髏耳環選用黃銅與木材打造，材質本身的原始質感賦予作品圖騰般的儀式力量，既延續了"死亡警示"的古老傳統，又注入圖騰或護符的神秘氣息。

骷髏圖騰最早由 Vivienne 與 Malcolm 於 1980 年代初期引入設計之中。骨骼元素最早可追溯至 1972 年「Let it rock」系列的 T 恤設計，當時使用的是雞骨圖案。 骨骼意象過去常被佩戴，用以提醒人們死亡的必然性，藉此減輕對死亡的恐懼。 採用骷髏造型的紐約耳環則出現於 Andreas Kronthaler 2018 春夏系列。骷髏圖騰最早由 Vivienne 與 Malcolm 於 1980 年代初期引入設計之中。骨骼元素最早可追溯至 1972 年「Let it rock」系列的 T 恤設計，當時使用的是雞骨圖案。 骨骼意象過去常被佩戴，用以提醒人們死亡的必然性，藉此減輕對死亡的恐懼。 採用骷髏造型的紐約耳環則出現於 Andreas Kronthaler 2018 春夏系列。

Vivienne Westwood's fascination with armour is a direct echo of her deep interest in history, and her use of its construction methods is the result of extended study. In the late 1980s, she examined the suits of armour held in the collection of the Wallace Collection, a museum in central London. Spanning from the 10th to the 16th centuries, these pieces inspired a series of jackets replicating armour ‘plates’ in tweed in her Autumn/Winter 1988 Time Machine collection. The shapes and original materials of armour naturally translate to jewellery, and Westwood borrowed the articulation of metal panels in traditional plate armour to inspire the ‘armour’ ring, which debuted in the mid-1990s.

The Armour ring emulates the design of plate armour-inspired jackets, from the 'Time Machine collection' of 1988 - following Vivienne's fascination with the Wallace collection. She described the museum as ‘A jewel box’ of treasures. ‘The Wallace Collection is the greatest art school in the country’. she expressed. To her, the museum epitomised the century; ‘A high point of culture.'

Vivienne Westwood對盔甲的痴迷直接反映了她對探究歷史的濃厚興趣，對盔甲製作方法的運用是深入研究的成果。20世紀80年代末，她對倫敦市中心華勒斯典藏館（珍藏的盔甲進行了深入探索。華勒斯典藏館的藏品範圍覆蓋10世紀到16世紀，為她1988秋冬系列「Time Machine」 設計中用花呢複製盔甲「plates（護板）」式外套帶來靈感。盔甲的形狀和原始材料自然會轉化為配飾設計元素，Vivienne Westwood借鑒了傳統板甲中金屬板的連接方式，為20世紀90年代中期首次亮相的「armour（鎧裝）」戒指設計帶來靈感。

鎧裝戒指仿效受板甲啟發的外套設計，靈感源自 1988 年「Time Machine」系列，延續 Vivienne 對威爾斯親王收藏館（Wallace Collection）的著迷。 她曾形容這座博物館為「一個寶石盒般的珍藏」。她亦表示：「Wallace Collection 是這個國家最偉大的藝術學校。」在她眼中，這座博物館體現了那個世紀的精華——「文化的高峰」。

Distorting scale is a central and recurrent leitmotif of Vivienne Westwood and Andreas Kronthaler’s work, one often explored through details, accessories and jewellery. Presented as part of the Spring/Summer 2021 Andreas Kronthaler for Vivienne Westwood collection, this necklace blows up chain links to a vast size, the resulting dimensions resembling primitive or medieval metalwork rather than the traditional delicacy of jewellery. There are also connections to ideas of bondage and restraint, connecting with the buckled straps and implied constriction that characterised much of Westwood’s punk work.

The Zelda style appeared in the Vivienne Westwood Spring-Summer 2021 collection, titled 'Down to N.10' - featuring bondage-inspired details, reminiscent of the house's signature Punk aesthetic.

扭曲比例是Vivienne Westwood和Andreas Kronthaler作品設計的核心主題，常常通過細節、配飾和珠寶來體現。作為2021春夏Andreas Kronthaler for Vivienne Westwood時裝系列推出設計的一部分，這款頸鏈將鏈節放大，尺寸堪稱巨大，類似於原始社會或中世紀的金屬用具，而非傳統的精緻珠寶。這也與束縛、約束的觀念有關，與Vivienne Westwood龐克作品中的扣帶和隱含的束縛創意遙相呼應。

「Zelda」款式出現於 Vivienne Westwood 2021 春夏系列「Down to N.10」，設計融入束縛風格細節，呼應品牌標誌性的龐克美學。

The present can be a mirror of the past – here literally. The volumes of an original piece of late 18th century jewellery, originally executed in silver and diamonds are recreated not through a moulding or casting process, but through broken shards of mirror, their surfaces serving to mimic the sparkle of those gems. This piece collides Westwood’s love of the delicacy of 18th century jewellery with DIY urges in a single contradictory piece. It is also an act of design alchemy: discarded, ‘worthless’ items are transmogrified into something unique and precious.

The Maritza necklace follows a classic Paure style, popular during the Victorian era - and often used as a decorative piece or for fancy dress. The piece appeared in the Andreas Kronthaler for Vivienne Westwood 2023/24 collection, featuring elements of broken glass and rope. The design features layered elements to create a 3D style, traditionally worn by society women to portray one's social status.

當下，往往是過去的一面鏡子—在這裏，這句話被賦予了字面意義。18世紀末的珠寶最初是用銀和鑽石製作的，現今不再採用模製或鑄造工藝，而是通過破碎的鏡子碎片重新再現，表面模仿寶石閃閃發光。這件作品將Vivienne Westwood對18世紀珠寶精緻的熱愛和DIY的激情和諧地融合在一件自相矛盾的作品中。這也是一種設計的鍊金實驗：被丟棄的「無用」物品變成獨特而珍貴的物件。

Maritza頸鏈 延續經典配飾風格，該風格在維多利亞時期相當流行，常被用作裝飾性配飾或變裝服飾的一部分。 此作品出現於 Andreas Kronthaler for Vivienne Westwood 2023/24 系列，融入破碎玻璃與繩索元素。設計以層疊結構呈現立體效果，傳統上此類造型常由上流社會女性佩戴，用以彰顯自身的社會地位。

A direct echo of the studded dog-collar, an item of jewellery that remains innately tied to punk ideology, this piece refashions the collar as an elaborate pavé-set solid ring necklace. Also inspired in part by an ancient African bracelet executed in wood, it is simultaneously referent to Vivienne Westwood’s interest in other cultures, her constant study of ancient societies, and an inherent anti-establishment streak. The purity of this design would also have appealed to Westwood, who often pared her creations down to the simplest iteration, using geometric shapes in both pattern-cutting and, here, jewellery.

The Memona neck ring appeared in the Andreas Kronthaler for Vivienne Westwood Spring-Summer 2024 collection. The design follows the style of wooden African bracelets, carved by traditional tribe members. The style has been reimagined in brass, complete with cubic zirconia details, lending the piece a futuristic look.

這款頸鏈的靈感直接源自鑲釘項圈—這類首飾自誕生起便與龐克意識形態密不可分。Vivienne Westwood在此基礎上重新演繹，以密鑲寶石的實心環形結構，賦予這一叛逆象徵全新姿態。其設計靈感部分亦取自一件古代非洲的木質手鏈手鐲，呼應Vivienne Westwood對異文化的探索興趣、對古代社會的持續研究，以及她一貫打破常規、擁抱獨立表達的設計理念。這種結構的極致純粹，也體現了她在設計上的極簡追求：她擅長將複雜概念提煉為幾何秩序，無論是在服裝廓形，還是珠寶語言中，皆以最直接的視覺語彙呈現力量。

Memona頸環出現於 Andreas Kronthaler for Vivienne Westwood 2024 春夏系列。 此設計靈感源自非洲傳統部落成員手工雕刻的木質手環風格。作品以黃銅重新演繹，並加入立方氧化鋯細節，為整體設計增添未來感。