This Brand is Bringing Circularity to Luxury Couture, the Creative Director Gautam Gupta Explains How

The excitement surrounding Avartan is immense, especially as it comes from the house of Asha Gautam - a home-grown label revered for preserving and reinterpreting India’s rich textile heritage through weaves such as Paithani, Bandhani, Patola, Kalamkari, Banarasi, Uppada, and more. After its humble beginnings under Asha Gupta, the brand found new momentum when her son Gautam stepped in (in the early 2000s), and together the mother-son duo has since carved an enviable journey in Indian luxury fashion.

Avartan, true to its meaning “one cycle”, is keen to focus on reusing textile waste in meaningful and beautiful ways. With this new project, Gautam has satiated his constant urge to think differently about materials and craft.

“I felt there were very few people genuinely experimenting with recycled textiles in their undyed form, especially recycled cotton and linen, and I wanted to explore that space. We decided that polyester would have no place in the brand. Instead, we started working with biodegradable materials in their most natural form,” asserts Gautam Gupta, co-founder at Avartan.

Robb Report India (RR): How has your brand ‘Asha Gautam’ reinterpreted traditional Indian weaves for the modern audience while preserving the cultural essence?

Gautam Gupta (GG): At Asha Gautam, we have always believed that the beauty of Indian textiles lies in their timelessness. Patterns like the Shikargah of Banaras, the Bangdi Mor of Paithani, or the Pan Bhat and Nari Kunj of Patola carry stories, memories, and a sense of identity that can never truly disappear.

We often experiment with traditional weaves by introducing unexpected colour palettes, newer motifs, or by merging crafts from different regions. One of the most interesting explorations for us was replicating the Rangkat weave of Banaras in Paithani or a Patola saree with the Bandhani technique.

Through GG by Asha Gautam, our fusion-wear label, we reinterpret heritage weaves into silhouettes like pant suits and contemporary occasion wear. In Avartan, our circular design initiative, we experimented with French knots using undyed nettle yarns, and the raw beauty of the result felt incredibly honest and organic.

RR: Among India’s many heritage weaves and techniques of designing, which one do you feel deserves a larger global spotlight?

GG: Among the crafts I have personally worked with, Banarasi weaves and Ikat naturally stand out, but if there is one technique I feel deserves far greater attention today, it would be French knots. The beauty of French knots lies in their delicacy; the finesse can only come through skilled human hands. No machine can truly replicate that softness and texture. What makes the technique even more special is its versatility. It can be explored through countless materials, colours, motifs, and scales, allowing it to tell very different stories each time.

RR: Avartan is here to emphasise the idea of circularity in luxury couture. In today’s trend-driven market, how challenging is it to promote circular fashion and longevity in couture?

GG: Sometimes the biggest challenges are what push people to rethink and change. I feel consumers today are far more aware than they were even a few years ago. Especially in the last two years, I have seen people becoming more curious about Indigenous handmade crafts, the artists who make them, and the story behind what they wear. There is a growing appreciation for slow fashion rather than mass-produced.

Of course, circularity is still a slow conversation in India, and I think it will take time before it becomes part of everyday consumer behaviour. But I genuinely believe people will reconnect with the idea of repeating garments, preserving them, repairing them, and valuing the craftsmanship and human effort behind them.

RR: How does your brand plan to bridge the gap between luxury craftsmanship and wider accessibility?

GG: At Avartan, we believe this change has to happen both through products and through mindset. There is no one simple solution, so we are trying to approach it from different directions. A big part of it is awareness, helping consumers understand the impact of mass-produced polyester clothing on climate, waste, and even health. At the same time, brands also need to be more transparent and authentic.

We are also focusing on longevity and emotional value. Through mending tutorials and exchange provisions, we want people to see clothing as something to preserve and build a relationship with, rather than something disposable. More people are beginning to value craftsmanship, quality, and longevity, and I believe that this shift will slowly help narrow the gap.