When she was a child, Misha McLean experienced an allergic reaction and was introduced to the epi-pen as a precaution. Though she never had to use it, the possibility left a lasting impression: the idea that a needle or a tiny pill could hold the power to steady a body on the brink. That awareness became not just a memory but a lens: through it, she sees the strange beauty of blister packs worn thin at the bottom of a handbag, the gleam of capsules that might cure or ensnare, the quiet weight of dependence, and the moral ambiguity of an industry that saves lives even as it profits from them.

Now a Glasgow-based contemporary jeweller, and freshly graduated from the Glasgow School of Art, Misha has been chosen for Shine 2025, the Goldsmiths’ Centre’s showcase of emerging talent, with her debut Repeat Prescription Collection. Using precious metals fused with fluorescent bursts reminiscent of ’90s rave posters, she reimagines pills, packets and capsules as talismanic adornments. Her work draws equally from the technical precision of CAD and 3D printing and the tactile craft of silversmithing, creating objects that are at once familiar and uncanny, playful and political.

For Misha, the journey to jewellery was itself transformative. She began as a hairdresser, sculpting avant-garde styles for photoshoots and fashion teams - another form of adornment, another way of working with the body. But where hair is fleeting, jewellery endures. In metal she found a medium that could hold memory, contradiction and critique, something that would last longer than a season, perhaps even a lifetime.

At Shine 2025, Misha invites us to look again at the objects that quietly govern our lives: the pills we swallow, the packets we discard, the prescriptions so routine in the Western world, but desperately scarce elsewhere. This story explores her work in Misha’s own words, giving insight into the thoughts and processes behind the Repeat Prescription Collection. Rendered in silver, enamel and neon, her pieces become both a fashion statement and a political one, as tactile and aesthetically pleasing as they are subversive and challenging.

From Scissors to Solder: Origins in the Industry

'I’ve always been creative and loved designing. I started working at 16 as a hairdresser, working my way up through the salon and training for around six years. I loved being on the creative side of it - working on art teams, photoshoots, and creating avant-garde hairstyles and images. That eventually led me into jewellery. I’ve always loved making things. With hair, you could spend all day on a style or colour, but the beauty of it is that it grows and changes - it’s always temporary. Sometimes I wanted to make something you could hold, keep, and treasure forever, which naturally led me to jewellery.'

'Both hair and jewellery involve the body, and both are forms of self-expression, so the transition felt very natural. I took a break from hairdressing during the pandemic. I had been travelling and tried to settle in Australia, but due to COVID I had to come home. Looking for something to do during lockdown, I signed up for an art and design course at Glasgow Clyde College. It was only a year-long course, and I wasn’t sure what would come from it, but after a few months I decided to build a portfolio and apply to university to study jewellery design. That’s how I ended up at the Glasgow School of Art, studying jewellery and silversmithing.'

Pills, Packets and Precious Metals: Repeat Prescription Collection

'The collection I’ll be showing at Shine is called Repeat Prescription. It’s based on the world of medicine and modern pharmaceuticals, exploring Western attitudes towards medicine. I think modern medicine is incredible - it saves lives and transforms them - but it’s also complex, and only works if used properly. Everyone has opinions and experiences around it, which makes it a rich subject to explore.

In this collection, I focus on the forms of pills and pill packets - how they look fresh from the box, how they change over time, and how they look when distressed or discarded at the bottom of a bag, slightly warped and distressed. I’d describe my design style as realism with a twist. I like to take inspiration from everyday objects and replicate them in precious metals, using a mix of traditional and modern techniques.'

'I’m drawn to the overlooked and forgotten - mundane objects with hidden beauty. These items are designed with function over form, but I enjoy highlighting the beauty in their forms and imperfections. I use bright neon colours in my jewellery to reference warning signs and to draw attention to these everyday shapes. Each piece is based on a real object: I measure, sketch, and then translate it into precious metal. For example, pill capsules are fragile and delicate, but I reimagine them as durable, wearable objects that can last a lifetime.

Some of my favourite pieces are the pill pins - small sterling silver pills, around 18 by 10 millimetres, in various colours. They’re versatile: they can be bold or subtle, depending on how you wear them. The earrings work in a similar way. People usually recognise the subject straight away, which often leads to curiosity about how they were made. The colours, too, make them instantly eye-catching.'

'I find that a wide range of people are drawn to this collection, which I think reflects how universal medicine is - especially in the Western world. Everyone has some kind of personal connection to it, and I’ve had people of all ages and genders share their own stories with me after seeing my work.'

The Techniques Behind the Collection

'While creating this collection, I explored a lot of 3D modelling with Rhino, which led me into 3D printing and lost-wax casting. For the pill packet brooches, I designed and 3D-printed moulds that could be used with a hydraulic press. This gave me precise, symmetrical forms and allowed me to achieve exactly what I wanted in metal. With lost-wax casting, I was able to bring my 3D models into reality with incredible accuracy.'

'Once I’ve created the initial forms, I use a range of techniques to add detail. Chasing tools and punches give the pill packets their popped-out, distressed look. I also work with enamel - from perfectly clean finishes to deliberately distressed surfaces - and use model-making spray paints and lacquers to achieve neon colours that enamel can’t replicate.'

Being Chosen for Shine 2025 and Looking Ahead

'Being chosen for the Shine training programme has been an amazing experience. It’s introduced me to a network of like-minded makers, all at different stages in their careers, who want to push their businesses further and share their work with the world. It’s also taught me more about selling - both in person and online - and helped me become part of a supportive community.

The workshops, especially those on writing about ourselves and our work, were invaluable. They gave me new perspectives, helped me refine how I present my practice, and encouraged me to think about aspects of my work I might not have considered before.'

'Looking ahead, I’ll be continuing as an Artist in Residence at the Glasgow School of Art for another year. This gives me access to a studio space, specialist machinery, and the opportunity to teach one day a week - something I’ve really enjoyed this past year. As a teaching assistant, I’ve been helping first-year students develop technical skills and explore their own design processes. It’s been exciting to see what they create with little or no prior experience in jewellery, and I’ve been hugely impressed with their imagination and creativity.'