Ashima Gulati: Rethinking the Handbag Through Fabric, Craft and Conscious Design

Founded by interior designer Ashima Gulati, Etcetera emerged in 2021, during the pandemic, when a career spanning more than two decades in interior design unexpectedly led her toward handbag design. Working with fabrics, Indian textiles and vegan materials, Gulati questioned the conventional association between luxury handbags and leather. What began as a creative experiment has since developed into a consciously priced accessories brand, made in India with a small team of karigars and a deliberately limited approach to production.

Here, Gulati talks about the origins of Etcetera, the influence of her interior design practice, working with unconventional materials, the realities of sustainable production and her vision for taking the brand beyond India. You founded Etcetera in 2021, during the pandemic, after more than two decades in interior design. What brought you to that moment, and when did the experiment begin to feel like a brand?

Textures, colors and fabrics have always been an integral part of my journey as an interior designer. Alongside designing interiors, I was also creating and manufacturing soft furnishings for residential and hospitality projects. When the pandemic brought this work to an unexpected halt, my experience with textiles and my passion for bags came together in a surprising new way, inspiring me to explore fabric as a medium for handbag design.

It also made me question the perception that premium handbags must necessarily be made from leather. It was important to me that my bags be cruelty-free, hence no animal leather.

Fashion houses such as Chanel and Carolina Herrera have long incorporated textiles into their collections, while Stella McCartney has demonstrated the possibilities of vegan alternatives within luxury fashion. This encouraged me to question convention and explore how fabrics and vegan materials could be used to create distinctive, elevated accessories. There was no single moment when Etcetera suddenly felt like a fully realized brand. It emerged gradually through the process of developing its identity, building the website and eventually making the first sale. Every stage felt both exciting and intimidating, marking a new step in bringing the idea to life.

You started this venture at 57, after an established career in another field. What did that leap feel like, and what did your years in interior design and textiles bring to Etcetera?

It was more of a blind play, not knowing what I was getting into. It was a creative experiment that I enjoyed. I was learning new skills in digital marketing and online selling, along with the technicalities of making bags. Being an interior designer for more than 25 years gave me a sense of color, form, proportions and attention to detail. Fabric behavior and even pattern making were easy since I had been making shop drawings for furniture and detailed construction drawings. I learned the technicalities of making bags and innovated along the way.

The name Etcetera suggests endless possibilities. Why did it feel right for an accessories label, and does that idea still guide the brand?

Etcetera was conceived as an accessories brand, with bags marking the beginning of an ever-evolving journey. The name reflects the role accessories play in styling a look, the et cetera that completes a look while expressing and defining the wearer's personality. True to this philosophy, the brand's creative vision remains in constant motion, continually exploring new ideas, materials and concepts.

Etcetera is made in-house with a small team of karigars. What does the journey from an initial idea to a finished bag look like in your studio?

The making of an Etcetera bag begins with an idea, sometimes inspired by a fabric, an occasion or a distinctive form. Pencil scribbles and sketches are made by me, in an old-school style. From there, the concept evolves through countless iterations by the team until the final shape and structure begin to emerge.

If the design features a print or pattern, the team develops several options before refining the artwork and establishing the color palette.

The design then moves into prototyping, with anywhere between two and five versions created to perfect its proportions and construction. Every detail, from the handles and hardware to the fastenings and closures, is carefully considered. Once these elements are resolved, the first sample is produced in the final materials and refined until it meets the brand's standards.

Before going into production, the finished bag is used by the founder or members of the team for seven to ten days. This real-world trial helps assess its comfort, functionality and practicality. Only after completing this final test is the design approved for production.

You work with loom cottons, jute, canvas, denim and velvet. Why was it important to keep the craft Indian and handmade rather than outsource or mass-produce?

For me, the true joy of making bags lies in the creative process itself, watching a material evolve step by step into an entirely new product. That transformation, from an initial idea to a beautifully crafted and functional piece, is what continues to make the journey so exciting.

As the brand grows, we are also looking to strengthen our manufacturing capabilities by bringing in dedicated support teams, allowing us to scale thoughtfully while remaining true to our design and quality standards.

Working with unconventional fabrics brings its own technical challenges. What has been the hardest part of translating textiles into bags that can withstand everyday use?

One of the greatest challenges lies in reinforcing a material sufficiently for it to achieve the intended shape and structure while remaining mindful of its natural limitations. Every material behaves differently and must be approached on its own terms.

Expecting a fabric bag to perform or hold its form in the same way as leather would be neither realistic nor desirable. The silhouette and construction of each bag are therefore developed in response to the inherent strength, texture and character of the chosen material, allowing it to guide the design rather than forcing it into an unsuitable form.

You made a clear decision to remain leather-free, questioning the idea that leather is the default standard of luxury. What led to that conviction, and how has the response to vegan luxury changed since you began?

Having worked with remarkable fabrics with diverse textures and patterns, I wanted to give people the freedom to explore something different. Questioning “why” and “why not” has always been part of my nature, challenging conventions, experimenting and refusing to follow established norms simply because they are established.

It was equally important to me that the brand be cruelty-free. I never imagined vegan luxury would evolve into such a meaningful movement, and I’m truly happy to see this awareness and conscious approach gaining momentum.

You describe sustainability as a long-drawn process and a constant effort rather than a finished claim. What does conscious design look like behind the scenes at Etcetera?

Sustainability is a continuous and conscious effort for us. While achieving 100 percent sustainability in this industry is challenging, we remain committed to making responsible choices wherever possible. Nearly 90 percent of our fabric waste is repurposed into alternative designs, while plastic is kept to a minimum and recycled options are used wherever possible. We have also introduced plant-based leather in some of our newly launched wallets and source surplus fabrics directly from weavers whenever possible. By maintaining limited inventory and replenishing only as required, we minimize overproduction and avoid excess stock.

You describe Etcetera as consciously priced luxury. How do you balance craftsmanship and price without compromising either?

For us, consciously priced luxury is about creating something that feels special without making it expensive. We want our products to have a strong point of view, thoughtful design, good materials, beautiful craftsmanship and, importantly, a reason to exist. We work closely with our karigars and manufacturing partners, produce in limited quantities and spend time getting the details right. We have a small design and operations team. Personally, I also take on multiple roles as and when needed.

We would rather invest in the things that genuinely matter, such as quality materials, craftsmanship, functionality and finishing, while keeping control of the overheads and excessive production. We also keep our mark-ups low.

The designs are bold and eclectic, with an emphasis on individuality rather than trends. Who is the Etcetera woman, and what do you want her to feel when she carries one of your bags?

The Etcetera woman is a free thinker with a strong sense of individuality. She is curious and experimental with her style, choosing pieces that express who she is rather than simply following trends. Conscious of her surroundings and respectful of nature, she makes thoughtful choices without compromising on creativity or self-expression. She is young at heart, mature in thought and confident, maybe a trendsetter simply by unapologetically being herself.

What has been the most rewarding moment so far, or is there a piece you are particularly proud of?

I have a few personal favorites that I am particularly proud of, with the Foldable Shoppers and Paris Festive Bags at the top of the list.

Both collections have also been warmly received by our customers and community. While they are equally lightweight and versatile, both have different personalities and serve very different purposes. The Foldable Shoppers are designed for everyday use and travel, whereas the Paris Festive Bags are created for celebrations, festive occasions and evenings out.

Looking ahead, where do you want to take Etcetera in terms of materials, reach and the conversation around Indian sustainable design? What would success look like five years from now?

I want Etcetera to grow thoughtfully, both in what we make and where we are able to reach people. We want to continue experimenting with innovative materials while expanding beyond our current range into fashion accessories and many more styles of bags.

In India, the focus is on building a wider presence through a stronger online offering alongside a more intentional offline presence, allowing more people to experience the products and the craftsmanship behind them.

Internationally, we want to be equally deliberate. Rather than trying to be everywhere, we would like to test a few carefully selected markets through the right strategic partnerships and build from there.

I also hope Etcetera can play a small but meaningful role in changing the conversation around Indian sustainable design, showing that sustainability, good design, functionality and craftsmanship can coexist without compromising on accessibility or aesthetics.

Five years from now, success would mean Etcetera being recognized internationally as an Indian brand with a distinct identity and point of view, while having built a strong community in India. More than scale, I would want that growth to feel intentional, staying true to our materials, our quality and the curiosity and integrity with which we started.

www.bagsetcetera.in