• Ruwanthi Gajadeera’s ocean advocacy makes waves at UN Ocean Conference

At the heart of the third UN Ocean Conference (UNOC3) in Nice, France, a landmark gathering of global ocean leaders, sustainable fashion designer Ruwanthi Gajadeera’s voice rose above the tide with ‘S.O.S – Save Our Seas’. This powerful, multi-sensory exhibit was not just art. It was a call to action, stitched in sea-blue thread, scientific data, and the urgency of a planet in crisis.

Displayed within La Baleine at the European Digital Ocean Pavilion, the largest pavilion in the Green Zone of the Palais des Expositions, S.O.S stood as a striking example of interdisciplinary activism. It was a collaboration between Gajadeera and pioneering marine biologist Dr. Asha de Vos, merging the aesthetic force of fashion with the empirical weight of marine science to advocate for ocean sustainability.

The exhibition was open to the public from 2-13 June, welcoming thousands into an immersive space where textile met the tide and couture told the story of catastrophe.

“I’ve always believed that fashion is more than clothing,” said Gajadeera, adding: “It’s a language, a form of protest, and, in this case, a vehicle for environmental justice. S.O.S is about turning heartbreak into action, using the X-Press Pearl disaster not as a full stop, but a starting point for change.”

A sea of stories, woven into fabric

The X-Press Pearl disaster, a cargo ship that sank off the coast of Sri Lanka in 2021, spilling tonnes of chemicals, plastic pellets, and oil into the ocean, left a trail of destruction that continues to haunt marine life and coastal communities. For Gajadeera, the incident struck both personally and professionally.

It challenged her not only as a designer but as a citizen of a small island nation uniquely vulnerable to environmental neglect. “The disaster wasn’t just ecological. It was emotional,” she explained. “Fishermen couldn’t go out to sea, dead turtles washed ashore, and there was this collective sense of helplessness. I wanted to channel that grief into something transformative.”

The result was S.O.S: A fashion-led installation that refuses to remain silent. The exhibit uses ethically-sourced and upcycled materials, some even mimicking the texture of nurdles, the plastic pellets spilled during the X-Press Pearl incident, alongside soundscapes of ocean life, scent diffusers evoking the salty coastal breeze, and video projections of affected marine species. Scientific data provided by Dr. Asha de Vos and Oceanswell grounds the project in sobering facts.

“Our oceans are gasping for breath,” said Gajadeera. “So, we’re using every sense – sight, sound, smell, touch – to jolt people awake. The ocean is not a dumping ground. It’s a living, breathing entity that needs protection.”

A global stage for island voices

That S.O.S has found its way to one of the most influential ocean advocacy platforms in the world is no small feat. The European Digital Ocean Pavilion was part of the Green Zone at UNOC3, open to civil society, academia, artists, and innovators from around the globe. Inside La Baleine, over 10,000 square metres had been transformed into a vibrant, open space inviting schoolchildren, scientists, policymakers, and families alike to interact with exhibitions focused on ocean literacy, sustainable blue food, polar ecosystems, and more.

The pavilion itself was structured around three thematic spaces – inspire, engage, and decide – each offering immersive access to cutting-edge EU-led innovations in ocean governance. Through virtual reality, real-time simulations, satellite data, and AI-powered storytelling, visitors could explore everything from rising sea levels to reef bleaching, and even model ‘what if’ climate scenarios in real time.

“It’s incredible to see Sri Lanka represented in this way,” said Gajadeera, adding: “So often, small island nations are excluded from global conversations, especially in science and tech. But here, we’re not just included. We’re at the forefront.”

Her exhibit stood tall among digital twin oceans, robotics displays, and EU policy hubs. And yet, its power lay in its intimacy; the soft whisper of fabric rustling like waves, the ghostly outline of a dying coral reef hand-stitched into linen, the unspoken tragedy of lives lost. “People don’t expect to feel something so visceral when they step into a fashion exhibit,” Gajadeera mentioned, adding: “But that’s exactly the point. Empathy drives action.”

Fashioning a future for the sea

What sets S.O.S apart is its insistence on sustainability, not just in message but in method. Gajadeera’s designs are zero-waste, often created using handwoven textiles, natural dyes, and techniques rooted in South Asian craft traditions. The exhibit also included QR codes for viewers to learn how to reduce their own oceanic footprint, from ethical consumption to community engagement. “This isn’t a doom-and-gloom piece,” she said. “It’s an invitation to do better.”

Working alongside Dr. de Vos, who is a National Geographic Explorer and one of the leading voices in Indian Ocean marine biology, added scientific rigour and credibility to the project. The collaboration ensures that S.O.S doesn’t just inspire, but also informs.

“Dr. de Vos brought in the data and the reality checks,” Gajadeera said. “She helped me visualise things like microplastic contamination and species migration in ways that I could translate into fabric, movement, and form.”

The response, Gajadeera noted, has been overwhelming. Children pressed their hands to the textured panels, tracing the outlines of ghost nets and coral skeletons. Activists wept quietly. Delegates from other nations asked about replicating the model in their own countries. “Art transcends policy barriers,” she mused. “You can debate facts. You can’t debate feelings.”

From Sri Lanka to the world

While S.O.S has found global resonance, it remains deeply Sri Lankan at heart. From the batik motifs reimagined to resemble oil spills, to the traditional handloom sarongs morphed into flowing silhouettes that mimic wave patterns, Gajadeera’s work is a tribute to her island’s culture, and its wounds.

“I wanted to honour my roots,” she said. “But also show that Sri Lanka is not just a victim. We’re innovators, artists, scientists, and storytellers.”

The exhibit first debuted in Colombo in collaboration with the European Marine Board, before making its way to France. And as part of the UN Ocean Conference, it sat beside some of the most sophisticated ocean technologies in the world, holding its own with quiet ferocity.

Looking ahead, Gajadeera hopes to expand S.O.S into schools across South Asia, develop digital toolkits for educators, and collaborate with other ocean scientists to bring the project into new waters, both metaphorically and geographically.

“This is only the beginning,” she said. “The sea doesn’t ask us to save it for free. It demands our creativity, our knowledge, and our courage. S.O.S is my offering.”

A decade of oceans, a century to heal

The third UN Ocean Conference marked a decade since COP21 and the Paris Agreement, spotlighting the urgency of SDG 14: Life below water. As heads of state, UN delegates, researchers, and civil society actors converged to “accelerate action and mobilise all actors to conserve and sustainably use the ocean”, artists like Gajadeera reminded us of one simple truth: You can’t save what you don’t feel connected to.

“If a child walks into my exhibit and leaves with questions, I’ve done my job. If a policymaker walks in and rethinks the way they approach trade and shipping regulations, I’ve done my job. And if a fellow islander sees their story reflected here and feels seen? That’s everything,” Gajadeera added.

When it comes to ocean activism, S.O.S – Save Our Seas is both thread and needle, mending the rupture between humanity and the deep blue around us.