Fanusta - Bridging The Gap!
While many crafts are under threat of getting lost, there are some torchbearers who are trying to rescue and revive old cultural traditions by going the extra mile.
Fanusta is one such enterprise started by Shailander Kumar who left his corporate job to bring artisans and their long running crafts back to mainstream by integrating their unique skills with modern day design and presenting it on a global platform. ‘‘Fan’ in Arabic means Artist and ‘Usta’ in Turkish means Master. Founded in 2016, the brand aims to be a “Master of Art”, much like its name, aiming to rediscover and define the individuality of craftsmen and their craft, while opening doors of opportunity for them.
Kumar comes with a computer engineering background having been part of many corporate houses with his last stint being with a telecom giant till just a few years back when he decided to leave it all. Driven by his passion, he settled in Jaipur and dedicated himself to discovering old crafts and injecting new life into them.
Some of the innovation involves having a Kishangarh based artist paint on bottles for Moet Hennessey and Brass and iron wall panels by Moradabad artistes in luxury real estate properties and hotels such as the ITC group. Kumar says, “We are identifying craftsmen from across India and tying up with big players to get them assignments that keep them engaged to their trade. Many of them especially from the new generation are losing interest in their family specialization simply because of not enough work. We want to change that.”
Take for example the tradition of Surahi making. Taking birth during the Mughal India, these flasks made in copper or brass, took eight months for each to be made. Now there is only one artisan of this craft, two time President Awardee Mobin Hussain of Moradabad who continues to be attached to his craft even in his twilight years but he has no successors. Fanusta has preserved an original one-of-a-kind statement Surahi piece with intricate hand drawings which takes inspiration from the Mughal floral motifs of the Taj Mahal. Same time, the enterprise is trying to get orders that showcase the craft but in different expressions such as card holders and other present day utility items that have greater demand.
Kumar says, “India is known worldwide for its rich culture and heritage, but the traditional arts and crafts have been lost in the transition towards mass production. Our goal is to bring back this lost Indian culture and craft with modern aesthetics and innovation.”
With three different business models, they aspire to help the crafts business in different ways; to revive, boost and help them grow. This business with a soul ensures the lifecycle of product creation provides a global platform to the craftspeople and their work. They are equipped with new knowledge and freedom to innovate while utilizing their traditionally acquired skills to create tailored products. It is much more than just a process of creating unique décor, it is a process of empowering local artisans ensuring them with fair wages and opportunities as well as preserving their arts for posterity.
