釋迦牟尼說：「除了自己，沒有人會、也沒有人可以拯救我們。我們的路終需由我們自己走。」將斯里蘭卡傳統與佛教哲思結合、並融入古斯里蘭卡文化中的永續概念，為慢時尚與循環服裝的生產盡一份心力。
My collection is my emotional journey through Japan as a physical expression. This tour was a spiritual journey of identifying myself while exploring Japanese philosophies complementing my background as a child growing up in a Buddhist family. I express my thoughts through similar cultural occurrences and experiences through this collection. It helped me to understand myself as a person/ artist and a designer. It was a mental gateway amidst the lockdowns as I was able to relive my memories while conceptualizing and creating this collection. I expressed it through 6 looks and 6 concepts. It brought out my perspectives through sustainable textile weaving. I wove each weft with several colours to express my mood and emotional connection with the philosophy which I wanted to follow with each look. This collection mirrors me as what I have felt throughout growing up and up to this date. This is the path which I have walked, and these garments are myself.
“kǣli”在我的母語中的意思是碎片。該系列的主要技術是將廢棄的織物碎片結合在一起，透過融合逐漸減少的傳統工藝來創造創新的紡織品。我的服裝結合了環境和社會因素，以創造出有影響力的設計。將廢線和紗線與拼接、鉤針、梭織花邊和手搖織機等傳統工藝相結合，為邊緣化的工匠賦予了新的生命。生產方面不消耗任何碳氫化合物。 設計方面，我的服裝通過在整個服裝生命週期中體現 3R（減少、再利用和回收）的低技術和高科技技術來傳遞永恆的精神。 使用了零浪費、升級再造和重建技術，這些技術不僅可以生產低浪費的服裝。通過使用紡織品和剪裁廢料，將它們升級成永恆的作品。拼湊重新利用以前喜歡的牛仔布。 使用天然染色技術，使用本地植物生產原始顏色染料，不會向地球釋放有害化學物質。染色過程中產生的廢水安全地重新用於灌溉植物。此外，對於高科技工藝，該系列採用臭氧漂白和雷射打印技術。 服裝的耐用性由調色板以及它採用的破舊顏色證明是合理的。該系列的一些服裝具有強烈的雌雄同體和性別流動元素，即使作為二手服裝也能吸引更廣泛的受眾。 如前所述，長壽與設計息息相關，該系列旨在通過採用傳統工藝（例如 boro 修補技術和永恆的設計方面）為其穿戴者帶來情感價值。旨在成為一種理想世代相傳的服裝，因為它可以使用 boro 技術輕鬆修補。
'kǣli' means pieces in my native tongue. The main technique of the collection was to bring pieces of waste fabrics together to create innovative textiles by incorporating diminishing heritage craftsmanship. My garments combined environmental and social aspects to create impactful designs. It allowed me to breathe new life into the textile by combining waste thread and yarn with heritage crafts such as patchwork, crochet, bobbin lace and handloom which empowered the marginalized artisans. Most importantly mother earth by designing responsibly. Employing these methods does not consume any hydrocarbons in terms of production.
In terms of design, my garments pass on an ethos of timelessness by embracing low tech and high-tech techniques that express 3Rs (reduce, reuse, and recycle) in the complete garment lifecycle.
I used zero-waste, upcycling, reconstruction techniques that not only produce a low-waste garment. By using end-of-roll textiles and cut-and-sew waste, I was able to upcycle them into timeless pieces. I utilized preloved denim which was repurpose by deconstructing them in a fashion that allowed me to embody them into my collection through patchwork.
I used natural dyeing techniques using native plants that produce original color dyes without releasing harmful chemicals to the planet. Wastewater from the dyeing safely repurposed to water plants. Furthermore, as for high tech processes this collection employs Ozone bleaching and laser printing techniques.
The longevity of the garments is justified by the color palette as well as it employs worn-out colors. Some garments of this collection have strong androgynous and gender fluid elements to them appealing it a wider audience even as a second-hand garment.
Longevity is hard-wired to the design as illustrated earlier, this collection aims to bring sentimental value to its wearer by employing heritage crafts such as boro mending techniques and timeless design aspects. It aims to be a generational garment that would ideally be passed down from generation to generation as it can be easily mended using the boro technique.