2 weeks Ago By Thilina Walpola
By Zanita Careem Dr. Ayesha Wickramasinghe, who is the champion of the National Crafts Council plays a pivotal role in promoting and developing the local handicrafts. She has served as a Senior Lecturer at the University of Moratuwa specialising in Design and Production development since 2006.
With her wealth of experience, she brings extensive professional expertise in Brand Promotion and Design from Sri Lanka, the United Kingdom and the United States. An old girl from Southlands College Galle, she graduated with first class honors in fashion design and production development from the University of Moratuwa. She also , holds a postgraduate degree from London and a doctorate from the University of the Visual and Performing Arts, Sri Lanka.
Stepping away from the techdriven expectations often tied to her generation, she believed craft wasnt just art, it was life and identity. In a world of hush and rush, deadlines and competition, her journey reminds of the beauty of persistence,creativity and the simple joy of doing what we love!In this interview, Ayesha explains the trajectory of her career, her work, inspiration and her empowering story. Your journey? My journey is rooted in a deep appreciation for tradition, artistry, and cultural identity.
Growing up in Weragoda, a village in the Galle District, I was immersed in a lifestyle shaped by community, nature, and craft. These early experiences inspired my academic and professional path—first as a designer and educator, and now as Chairperson of the National Crafts Council of Sri Lanka. Where did your interest in craft and making come from? My interest stems from home and heritage.
My mother, a primary school teacher, introduced me to flat pattern cutting and early creative expression. Surrounded by traditional crafts and nature, I grew up observing weaving, embroidery, and natural colors—realizing that craft wasn’t just art, it was life and identity. Can you tell us about your academic and creative background? I began my education at St.
Theresa’s Primary School, later moving to Southlands College, Galle. After excelling in Bio-Science for A/Ls, I pursued a Bachelor of Design in Fashion Design and Product Development degree at the University of Moratuwa, graduating with First Class Honours and receiving a Gold Medal. I completed Master of Arts in Fashion Technology at the London College of Fashion, University of the Arts, London and completed my doctorate (PhD) focused on the evolution of women’s clothing in Sri Lanka.
As a Senior Lecturer, my work blends fashion, textile, crafts, heritage, culture, and sustainability. Your career as an artist? Though I identify more as a researcher and creative practitioner, art has always shaped my work. Childhood memories of weaving tools from my grandmother’s old handloom center, along with a fascination for color in nature, designing, sculpting and paintings, fueled my artistic exploration.
My projects bridge design and heritage, often reviving traditional techniques through a contemporary lens. Your work with the Crafts Council of Sri Lanka? As Chairperson of the National Crafts Council (NCC), I help lead efforts to preserve and promote Sri Lanka’s craft heritage while supporting over 20,000 artisans. From craft village development to initiatives like Shilpa Abhimani , the craftsmen training programmes, market access, and connecting crafts with tourism and younger generations.
What are your thoughts on the significance of crafts, heritage, and culture? Craft is the soul of a nation—it links hands, minds, and hearts. It teaches patience, creativity, and cultural identity. Our heritage is rich with around over 30 craft traditions, and integrating craft education can instill pride and resilience in today’s fast-paced world.
Are we doing enough as a country to preserve our culture and heritage? While commendable efforts are underway, there’s more to be done. Preservation must be embedded in education, policy, and public mindset. True change comes when people value their own culture and products—embracing what the world now calls “hyper-localism.
” Can traditional crafts find their niche in modern interiors? Absolutely. Traditional crafts bring warmth, character, and authenticity to contemporary spaces. If artisans understand current market trends and adapt their presentation, these crafts can thrive in modern design contexts undoubtedly.
How can we create deeper awareness and appreciation of crafts? Storytelling and education are key. People need to understand the time, skill, and meaning behind handmade work. Platforms like exhibitions, documentaries, media and school programs can help build this appreciation and pride in our own heritage.
Thoughts on national funding for art? National funding is essential and should be seen as an investment in cultural and economic sustainability. Strategic public-private partnerships can support artisans, drive innovation, and promote cultural tourism to boost the national economy. What are the key challenges facing artisans today? Artisans face raw material shortages, policies, limited market access, undervaluation of their work, and weak generational continuity.
Economic instability often discourages youth from joining the sector and lack of research and development initiatives for craft sector is crucial. These challenges need integrated solutions. Where do you see the Sri Lankan craft industry heading? With the right support, Sri Lankan crafts are poised for a revival.
As global demand grows for sustainability and authenticity, our heritage can shine—offering rich stories and concepts, sustainable raw material and packaging, skilled and high-quality artistry, and cultural depth to the world..
