By Shailendree Wickrama Adittiya
A closer look at any piece of textile shows us how the weaving of thread, especially to form intricate designs, comes together to create anything from clothing and accessories to art and homeware. In Sri Lanka, weavers often use old machines that require manual labour and effort. However, Vajira Peiris is trying to change this, especially through Concept Garage.
The startup was founded by Peiris and two friends with whom she graduated from the Moratuwa University in 2009 – Sahan Ranasinghe and Vindana Wijeykantha, both engineers. Through Concept Garage, the trio plan to develop four innovative looms for different sectors of the weaving industry. The Morning Brunch reached out to Peiris to gain a better understanding of these looms as well as the work she has done to uplift the weaving industry in Sri Lanka.
Gifts from her grandfather
Peiris shared her background in weaving: Her undergraduate degree in fashion design and project development, which covered subjects like textile and weaving, was obtained from Moratuwa University back in 2004. Her postgraduate degree is from the London College of Fashion, and this programme touched on textiles as well. Peiris then started lecturing at Moratuwa University, and got involved with the weaving industry during this time, as she conducted various training programmes with weavers.
She returned to the UK, where she joined Nottingham Trent University as a tutor for the Year Two weaving specialisation module. She was involved in this work for over seven years.
“My mother gave me some drawings by my grandfather. These were plans he drew in 1965 for the Small Industries Department and included dobby looms, which are large looms operated by manual power,” Peiris shared, explaining that her grandfather started as a draughtsman, but left the department as a director. He drew all interior elements, from cupboards, chairs, and tables, as well as dobby looms, down to the stool.
Due to the aesthetic value of these blueprints, Peiris had put them up at home, but during regular visits to Sri Lanka, visiting weavers in areas like Dumbara, Galle, and Matara, she saw how much labour goes into operating the looms in use. The idea then struck her to modify her grandfather’s designs.
“I sketched the table loom while in university, prepared the wood using a laser-cut machine and made a machine for fun; and that worked. Somewhere in 2014 or 2015, I gave the design to a carpenter in Sri Lanka and had it made properly.”
Peiris returned to Sri Lanka in 2018, and a friend suggested making more of these machines and distributing them among the local weaving community. He funded the samples, but the project was put on hold due to the onset of the Covid-19 pandemic.
However, Peiris didn’t scrap the project entirely, and slowly developed it, taking small machines with her when carrying out sessions in Jaffna, Vavuniya, Batticaloa, Matara, Galle, Kandy, and so on.
“No one produces these machines commercially in Sri Lanka,” she said, highlighting the importance of this project.
Peiris explained that Sri Lanka lacks individuals who can influence the industry, introducing new techniques and designs suitable for the international market. She addressed some of these issues, by providing weavers with resources.
Changing mindset
She now has high quality looms made by a local carpenter, and has provided a number of machines to the Academy of Design (AOD). Peiris has also received a few export orders. Work was put on hold during fuel shortages, which made it impossible to travel to the carpentry workshop, but Peiris said she is now investing more in this, especially given the increased interest.
So far, she has made 30 small machines, five mid-sized machines, and one large machine. The mid-sized machines were funded by an individual from Australia and were for the Peradeniya Central College, a project where Peiris provided the training and consultancy for free. She said that at first, the students did not have a clear idea about weaving, but once the programme began, their interest piqued, and they began to see the industry as one with potential.
Peiris went on to add that the misconception of weaving being limited to older persons must be addressed, and giving value to the role by identifying them as artisans, crafters, or designers could make the industry more alluring to young persons. This is important since we are seeing a drop in numbers, Peiris said.
“You have to sell and earn to survive. So we need to show them different revenue streams. We always make saris and scarfs, but I show them a variety of products, like wall hangers and art, and tell them they can be weavers in interior design, fashion design, and accessory design,” Peiris said, explaining that she shows weavers how to make a commercially viable product, while being innovative.
Her next step, she told us, is to distribute the looms among university students, and build an export market in Sri Lanka. Increasing interest among young persons is important, since they have more modern, trendy ideas, she said.
Peiris explained that while the basics of weaving are similar anywhere in the world, what makes the craft in Sri Lanka unique is the process, colours, and material used. “In any field, there is always a divide between contemporary and historical, but if we really analyse it, the contemporary is a renewal of historical movements,” she said.
