Meet the Maker - Makila Nsika

Makila creates meaningful jewellery that celebrates the land of her childhood, the Republic of Congo and the people who keep its story. Grounded in the belief that true beauty comes from unexpected places, and that the materials we use should reflect our commitment to sustainability, heritage, and innovation. M.kala jewellery is about tactile and timeless pieces using materials such as recycled gold and silver alongside palm nut kernels which have been specially engraved.

We thoroughly enjoyed learning about Makilas jewellery making process. Authentically leaning in to her Congolese heritage, celebrating the local artisans who help bring her ideas to life and championing traditional craftsmanship to create something beautiful and covetable.

When did your jewellery making journey begin?

Making jewellery is rooted in my personal journey of reconnecting with Congolese heritage and using design as a way to respond to the disappearance of craft and artefact in my country. It’s about creating objects that resonate with a lost past as well as with a global contemporary audience. After training as a silversmith in CityLit, my first collection, Kala, was inspired by ancient Kongo symbolism. They were silver pieces and glass beads from Ghana. I was selected as a Shine by the Goldsmith Centre. However, I was not satisfied with what I was doing. I felt like there was an intangible superficiality to my work if I was only sourcing materials from far and not actually directly working with the persons involved in making the elements I was using or with artisans that needed to be appreciated. 

Who inspires you the most? (No rules here, other jewellers, artists or even family & friends)

In jewellery, I admire the work of Liv Blåvarp for her expressive use of wood, and Tone Vigeland for the way she transforms metal into poetic forms that celebrate folklore. I’m drawn to artists whose work captures an essence of the human — whether through process or in the final piece. Ceramicist Magdalene Odundo, for instance, continues to inspire me with the sensuality and presence embedded in her forms.

Is there a favourite project or assignment from your course that inspired you or proved pivotal to your final collection?

My project was the primary focus of my time at Central Saint Martins. What proved pivotal was the freedom to experiment with both my chosen materials and the available technologies. Through this process, I discovered the potential of scaling, layering, breaking, and sculpting — pushing the boundaries of form and technique. Yet, it also reinforced the importance of preserving the hand of the artisan.

How do you work - Please can you tell us a little bit about your creative process?

The making process is highly collaborative and material-led. It begins with extensive research that unfolds in several directions. Aesthetically, I draw inspiration from ancient textiles and traditional patterns found in Congolese artefacts, which I reinterpret and adapt. My exploration of materials focuses on the cultural significance of palms in local life and the broader role of the palm nut in today’s global context, examining both its cultivation and uses. The community of artisans I collaborate with is central to the process, as I integrate their skills and perspectives into my designs, ensuring that our working relationship continues to grow sustainably. From there, I move into design sketches and prototyping, guided by my research and mindful of the limitations and strengths of the local workshops. Much of the production relies on slow, hand-based methods such as sanding and slicing, and I often travel to Congo to work directly with craftspeople when introducing new shapes. Finally, after soldering the metal components, I assemble them with wood using a laser welder, uniting the different materials into a single, resonant piece.

Sounds of the Studio - what are you listening to? 

I usually prefer not to listen to anything while I work. I love the silence of my studio and the natural sounds of tools and machines at work. However, when I need to focus quickly or have limited time in the studio, I turn to my headset for support. Soft grey noise or alpha waves help to quiet my thoughts and keep me centred on the task at hand. Occasionally, I add gentle piano music — but it must be sparse, never too many notes. I’ve learned that music can shift my mood too easily when I need to maintain a steady, neutral state of mind, especially when I’m writing. I often recommend Mompou’s meditative piano compositions, and the crackling sound of a fireplace remains one of my favourite soundscapes.

What’s next for you and your brand?

Next, I aim to deepen the connection between material innovation and traditional craftsmanship. I’m developing new collections that expand on the dialogue between metal and organic materials, while continuing to collaborate closely with Congolese artisans to sustain and evolve local craft traditions. Alongside this, I’m refining technical skills such as inlay and stone-setting in wood, with the goal of positioning the brand more firmly within the contemporary design landscape.

Finally, for fun, what would be your absolute dream piece to make or person to create for?

My absolute dream piece would be a full-body work created for a dancer, conceived for the stage within the spirit of African theatre and performance. I imagine a sculptural piece that moves with the body responding to rhythm, gesture, and storytelling. Rooted in the traditions of African dance yet reinterpreted through a contemporary lens, it would explore how adornment can extend movement and emotion, blurring the line between jewellery, costume, and sculpture.

Makila's Collection is available to view and purchase as part of our New Designers Exhibition.  Dedicated to championing emerging artists and offering a supportive platform for graduate jewellery designers to showcase their collections.

Showcasing the talented works of:

Maisy Beardmore, Makila Nsika, Matilda Press and Yosef Salih Murad.