When the first images from the James Webb Space Telescope were unveiled, Marina Skia found herself captivated - not just by the beauty of the cosmos, but by the mathematical elegance behind it. For Marina, the telescope’s glimpse into the origins of the universe sparked a new vision for her jewellery, inspiring her latest collection, COSMOS.

Her path to this point has been anything but conventional: from studying economics and applied mathematics in Greece and the UK, to a career in statistical analysis, and finally to rigorous goldsmithing training in Greece followed by a conceptual master’s in London. Each stage of her journey informs her work, allowing her to blend precision, structure, and artistic imagination into jewellery that is at once analytical, playful, and deeply inspired by the patterns of nature and the universe itself.

In this interview, Marina takes us behind the scenes of her creative universe. She reveals the process behind her COSMOS Collection, and shares how teaching and experimentation refined her skills and perspective. She opens up about the thrill of problem-solving, the challenge of crafting movement and mechanisms into her pieces, and the playful elegance of her minimalist designs.

Beginnings in Athens

'It all started in Athens, Greece, where I come from. At the time, I wasn’t sure what I wanted to do. I wasn’t happy with the things that I had been doing until that point, so I decided to take a break and explore a new direction. I tried different things, and one of those was two short courses - one in jewellery making and another in sculpture.

That year of making things by hand brought me back to something I’d lost from childhood: just enjoying the process, being in the moment, not worrying about perfection. That’s when I realised I wanted to explore jewellery further. So I started a three-year vocational training in Greece. It was very rigorous, proper goldsmithing work and it was very technical. Towards the end of that period, I realised I also wanted to further develop my design skills because I felt that they were lacking a bit.

That’s when I came to London to do a master’s in Jewellery Design at Sir John Cass, London Metropolitan University. This was wonderful because it was the opposite of my training in Greece. It was very conceptual. It was developing ideas from abstract concepts to something very tangible, experimenting with different technologies and materials. It was almost the exact antithesis, but I loved both of these worlds, and I’ve been trying to merge them together ever since.'

From Numbers to Nature

'Before jewellery, my path had been very different. My first degree was in economics in Greece. I then completed a master’s in Applied Mathematics and Statistics here in the UK at Lancaster University. I worked at the Bank of Scotland as a business and statistical analyst, so it was very, very technical.

That background has influenced me, because while nature is my main source of inspiration, I’m drawn specifically to the mathematical order in nature - growth patterns in nature. What I find particularly fascinating is looking at structures in nature and how they are formed form very simple structures. If you look at a beehive, it is literally just a hexagon, but then the whole structures is so complicated and visually beautiful, but it also serves a purpose through the form. That’s what I find particularly interesting and that’s the approach I take in my work.'

Finding Patterns, Telling Stories

'My latest collection is called COSMOS. It was inspired by the first images from NASA’s James Webb Telescope. At the time, I was exploring other themes for my relaunch as a fine jewellery brand, but when those photographs came out, I was so moved. These photographs weren’t just incredibly beautiful and very detailed, as the telescope is such a sophisticated tool, but they showed parts of the universe no telescope had seen before, even stars going back to the original moment of creation, the Big Bang. It was like going back to the moment everything started, and I found that incredibly moving. So I switched direction and began working on this collection.

The COSMOS Collection consists of 12 pieces, including many small studs that can be worn individually or as a pair. I love this element of versatility - the pieces are designed to be mixed, matched, and combined with other jewellery. Their minimal, abstract aesthetic makes them easy to pair, whether with other pieces from the collection or with items from someone’s personal collection. This playful, flexible approach is something I really enjoy about the collection.

I actually have two favourite pieces from the COSMOS Collection. The first is the Ray Necklace - a long pendant, about 70 millimetres, that I like to wear low on the torso. It has real presence and weight, yet remains minimal, and I love how it subtly catches the eye. The second is the Constellation Cocktail Ring. What I adore about this piece is that when you wear it, you can’t see the actual ring - all you see are two circles seemingly floating above your hand. The illusion is playful and elegant, and I’m particularly fond of how this design came to life.'

Research, Reflection, and the Spark of Creation

'My process always starts with images. I take thousands of photos, I save and collect them also on my social media, and then I print and group them. This process of printing, grouping and cutting up photographs, I find very useful and enlightening. Patterns and focal points start to emerge. These patterns, they help me answer the question: Why do I like this picture? Why is it in this pile? What is it that I find interesting? I narrow down the pile of photographs and it becomes very evident which four of five things that I am drawn to visually.

For the collection, I combined visual with theoretical research into the topic. I watched documentaries like BBC’s programme The Universe with Brian Cox. I loved this documentary.  I also read a lot of articles from NASA - until the two began to merge and tell a story. From there, I sketch rigorously - very abstract at first - and then gradually move from 2D sketching into developing 3D prototypes, which are just forms and have nothing to do with jewellery. I prototype both by hand and in CAD. Slowly, slowly the story and focal point emerge, and only then do I ask myself: ‘Okay, what will the jewellery look like?’'

Learning by Guiding Others

'After my master’s, I explored many different directions. I participated in various collectives and I did many different shows in London, Germany and France as I still wasn’t sure which direction I wanted to follow. But by 2017, I stepped back and focused on teaching.

Teaching has been invaluable: it forces you to refine your ideas, to explain very abstract concepts clearly using the right words, and it opens up new horizons because of what students bring. The teaching forced me to a better version of myself, to be a better version for my students. I’m so grateful to my students - they’ve given me confidence and helped me refine my own journey.'

Returning to the Beginning - at a Higher Level

'Looking back, I see my journey as a series of distinct stages. My training in Greece was all about craftsmanship and making - the rigorous foundations of goldsmithing. Then came my time in London, where the focus was on concept, design thinking, and pushing forward with technology. After that, there was a long period of exploration. I tried many different paths, sometimes even conflicting ones. I’ve always been interested in a wide range of things, and while that curiosity is a strength, it can also be a challenge - it makes it harder to narrow down and commit to just one direction. I felt compelled to experiment, to try everything, to see where each path might lead.

Through those experiments - and through watching my students navigate their own journeys - I learned a lot, gradually refining my own practice. Now, I feel as though I’ve circled back to the beginning, but not to the same point. It’s as if I’ve returned at a higher level, enriched by everything that came in between.

Today, I see myself as a hybrid: part traditional goldsmith, rooted in technique, and part conceptual designer, inspired by ideas and technology. These strands, once separate, are now coming together. I feel ready to truly show what I can do.'

Process and Problem-Solving

'Prototyping is exhausting but essential. I always say to my students: at some point, you must prototype in the real material, because you can’t escape its properties and materiality. Materials have their own properties and you have to test them thoroughly.

For COSMOS, I did so much testing and worked through countless prototypes in acrylic and then metal. One the design and prototyping is over, I then normally 3D print and cast the objects and clean them up. When a piece requires mechanisms, I always develop them myself. I love the challenge – the precision, the problem-solving, and the balance between beauty and functionality. For me, it’s not enough for a design to look good; it has to work flawlessly as well.

This is particularly important in pieces like the longer earrings, where movement is key. Much of the prototyping was about achieving exactly the kind of movement I wanted, while ensuring that the mechanism felt like an organic, integral part of the design. Mechanisms are always slightly different because they need to adapt to the specific form you’re working with. While the principles remain the same, each design requires its own tailored solution. The challenge of integrating movement and mechanism into a piece is something I truly enjoy.'

'As I return to fine jewellery, my focus is very much on gold and precious gemstones. The one aspect I prefer to leave to specialists is stone setting, as I believe it deserves the expertise of those who dedicate themselves to that craft. At this stage, I handle most elements myself, but looking ahead, I’d like to collaborate more with specialists as the collection grows. Working with others will not only enrich the process but also open up new creative possibilities.'

Clients and Connections

'In the past, my work has resonated with designers in their twenties and upwards - architects, product and graphic designers - who appreciate the minimalism, strength of the design, standard of making and thought process. Because my jewellery can be easily mixed and matched with pieces you already own or other items from my collection, many professional women are drawn to its quality, versatility, and effortless wearability.

I love that my pieces can be combined with others, either from the collection or from someone’s personal collection.'

Shine: The Missing Link

'I remember what I said on the first day when we met online, and it still feels exactly right: Shine is the missing link for me. I relaunched my fine jewellery brand in December 2024 and spent a lot of time developing the pieces, creating prototypes, and building the website. But I realised I was missing something when it came to communicating my work - through photography, social media, or video.

Shine is perfect because it gives me structure, a process, and the support to develop a methodology I can carry forward. My hope is to finish the programme with tools and strategies that I can continue to refine and build on. For me, that’s exactly what I needed - it truly is the missing link.

I really love the recorded classes, and this format works perfectly for me because I can go back, watch them repeatedly, and take notes in my own way. I find that revisiting the material helps it truly sink in, so I can make it my own and approach it in a way that feels natural to me. I’m excited to dive into the rest of the content and start applying all these new skills.

I’ve also got some new equipment now, including a new phone, so I’m ready to enjoy photography, posting, and all the creative aspects of sharing my work. I’m particularly looking forward to the pop-up selling event. Being a jeweller or designer can be a lonely process, so it’s wonderful to have the chance to connect with people, hear their feedback, and engage directly with an audience. Even critical comments are valuable, and I really look forward to that interaction.'

Looking Ahead

'Looking ahead over the next year and a half, my plan is to continue seeking out platforms like Shine to showcase my work. At the same time, I’m developing new designs and expanding the range of pieces I offer. These will remain within the same collection and forms, but with new variations and fresh ideas.

This gradual process of building and refining is one of the most challenging aspects of being a designer. I’m also revisiting designs I set aside last year - sometimes you have to let go of an idea to focus on something stronger, but that doesn’t mean you can’t return to it later and refine it. I’m currently working on new pieces that I hope to release in autumn 2025. For me, it’s all about refinement, growth, and expansion.'