From High Fashion’s Frantic Pace to Fine Jewellery’s Enduring Grace: The Story of ætla
In the heart of Edinburgh’s charming Stockbridge neighborhood, nestled among independent bookstores and artisan perfumers on the elegant, cobbled St Stephen Street, lies a sanctuary of quiet beauty and lasting value. This is ætla, a fine jewellery boutique born from a profound personal and professional recalibration. For founder Keira Wraae Stewart, the journey to this serene space was a winding one, leading her from the high-octane world of international fashion to the deeply intentional practice of curating and creating treasures meant to last a lifetime. A series of pivotal life events—a landmark birthday, a departure from a high-profile job at Vivienne Westwood, and a global pandemic that forced a worldwide reevaluation of priorities—catalyzed her transition from fashion to fine jewellery. Today, as ætla celebrates its fifth year, it stands as a testament to Stewart’s vision of history, beauty, and meaningful investment.
A Heritage Forged Between Scotland and the Sea
Keira Wraae Stewart’s approach to jewellery is inextricably linked to her unique cultural background. Growing up in northeast Scotland with a Scottish father and a Danish mother, her identity was shaped by a blend of cultures. This connection was deepened by her family’s roots in the Faroe Islands, a remote and rugged archipelago in the North Atlantic. Though part of Denmark, the islands are geographically closer to Scotland, creating a powerful cultural nexus that defines both Stewart and her business. This dual heritage is the bedrock of her brand’s aesthetic, which marries the clean, minimalist sensibilities of Scandinavian design with a deep appreciation for history and handwork.
The Faroese Connection and a Name of Intention
The Faroe Islands, a land of dramatic cliffs, traditional turf-roofed houses, and a rich oral history of ballads and stories, left an indelible mark on Stewart. This profound connection is immortalized in the name of her boutique: ætla. “I named it ætla because after leaving the Faroe Islands I wanted to stay connected to that part of my heritage,” Stewart explains. “The Faroese word ætla translates as intention, which felt right for how I wanted to work—with purpose and longevity.”
This choice of name proved to be serendipitous, revealing a deeper connection than she initially realized. “Interestingly, I later learned from my late Scottish granddad that the Scots word ettle, meaning to intend or plan, derives from the Old Norse ætla. The name connects both sides of my heritage, Faroese and Scottish,” she adds. This beautiful linguistic link perfectly encapsulates the philosophy of her brand: a mindful, purposeful approach to creating and curating objects of lasting worth.
The Dizzying World of High Fashion
Before establishing ætla, Stewart spent over a decade immersed in the demanding, fast-paced environment of fashion jewellery design in London and Thailand. Her journey began after graduating with a degree in jewelry, glass, and ceramics from Gray’s School of Art in Aberdeen in 2010. That same year, she plunged into the industry as a creative assistant for the Italian fashion jewellery brand Maria Francesca Pepe in London.
A Taste of Fame and a Relentless Pace
At Maria Francesca Pepe, Stewart gained a swift and thorough education in the realities of the commercial fashion world, learning how raw creativity must align with the relentless demands of production. It was a whirlwind of activity, as the brand was frequently in the spotlight, designing pieces for global superstars like Rihanna and Lady Gaga. This experience provided her with an invaluable, front-row view of a trend-driven market that operated at lightning speed.
In 2012, she moved to one of the most iconic houses in British fashion: Vivienne Westwood. As an assistant to the head jewellery designer, Laurent Rivaud, her role expanded significantly. Working across offices in London and Chiang Mai, Thailand, she was deeply involved in the design and product development for both commercial lines and the highly anticipated, avant-garde catwalk collections.
“The environment was fast-paced and full of character, and it taught me the importance of precision, consistency, and collaboration,” Stewart recalls. The standards were exacting, particularly under the mentorship of Rivaud, a French designer known for honoring traditional aesthetics while incorporating edgy, symbolic imagery. “Working under Laurent Rivaud set a benchmark for me. His creativity and standards had a huge influence on how I understand good design and decision-making. He had a playful approach and a real appreciation for historical jewelry.”
The creative energy was intense, pushing everyone on the team to their limits. Stewart’s favorite part of the job was the biannual catwalk collection, a flurry of innovation and artistry. “Each season we collaborated with different craftspeople and specialists, translating elaborate designs into unexpected materials,” she says. “That exposure to such a wide range of skills and techniques deepened my appreciation of craft in all its forms.” However, the relentless pace also brought clarity. “I have always found structure and organization to be a challenge, and working in those environments made that clear.”
The Turning Point: A Pandemic Pivot and a New Purpose
As she approached her 30th birthday in 2019, Stewart felt a growing need to step off the fashion treadmill. She made the bold decision to leave Westwood and seek a different pace of life, returning to the stark, windswept landscapes of the Faroe Islands. There, she traded the glamour of the design studio for the simple joys of working in a nursery school, where her happiest moments were spent doing artwork with the children.
This period of reflection was cut short by the arrival of the COVID-19 pandemic. Stewart relocated to Edinburgh, where her parents lived, and it was amidst the global uncertainty that the concept for ætla began to crystallize. She envisioned a return to jewellery, but this time, it would be entirely on her own terms. “I wanted to move away from costume and fashion jewelry and focus instead on pieces made from precious materials—gold, silver, and natural gemstones—that could be repaired and last for generations,” Stewart says.
Fueled by this new sense of purpose, she began reaching out to independent jewelers whose work she admired, slowly and carefully curating a collection for a pop-up shop. In November 2020, during the peak of the pandemic, ætla opened its doors for the first time. The venture’s success quickly led to a permanent home, and in August 2021, ætla was officially established at 46 St Stephen Street.
ætla: A Haven of History, Craft, and Lasting Beauty
Today, ætla is a bright, welcoming space that feels more like a curated gallery than a traditional shop. With its minimalist fixtures, pale woods, and a cozy log-burner, the boutique embodies a serene Scandinavian aesthetic that invites mindful browsing. It has become a destination for those seeking ethically sourced fine jewellery and unique engagement rings from Scotland and around the world.
A Curated Collection with a Soul
Stewart’s meticulously curated collection showcases the work of independent makers from across the U.K. and beyond, alongside a handpicked selection of antique and vintage jewellery. One of the boutique’s unique features is its Revival collection, which consists of carefully restored and beautifully transformed historical pieces. This blend of old and new speaks to the core of the brand’s philosophy: that jewellery should be cherished and passed down through generations. The focus is on timeless design, visible craftsmanship, and the intrinsic value of precious materials.
Championing a Community of Makers
Beyond its commercial function, ætla serves as a vibrant hub for the creative community in Edinburgh. Stewart runs a residency program, inviting approximately three jewelers each quarter to showcase their work, providing them with a platform to grow their businesses. This initiative fosters a collaborative spirit and reinforces Stewart’s commitment to supporting the craft she so deeply admires. She has also hosted numerous in-store events, from diamond masterclasses and wax carving workshops to collaborations with local artisans, solidifying ætla’s place within the city’s dynamic cultural scene.
The move to entrepreneurship has been a journey of self-discovery. “I realized I work best when I can build my own systems and pace, which is exactly what running my own business allows. It turned out to suit me really well,” says Stewart. This autonomy has allowed her to build a business that is a true reflection of her values.
Her ultimate vision is for jewellery to be an active part of a person’s life and story. “I think jewelry should live with you and change with you. I am drawn to pieces that become part of someone’s story rather than things that sit in a box,” she says. “Longevity is important, how something is made, the materials used, and how it can be worn, repaired, and cherished for generations.”
