Yosha Gupta: Founding An Enterprise With Soul
Meraki is a Greek word. It means doing something with passion, attentiveness and care. Yosha Gupta certainly pours herself into the startup she’s created, as does her 17-member team, and the artists they support on MeMeraki. While dwelling on the genesis of her venture’s name, Gupta adds that the “Me” alludes to their patrons – customers who leave traces of their souls on the enterprise.
Hailing from Aligarh, a town proximal to Agra in Uttar Pradesh, Gupta recalls a childhood immersed in the arts and culture. Her mother was always drawn to traditional art forms like Madhubani, and later in life, even had her walls painted by Madhubani artists. Given that Madhubani had originally been painted exclusively on walls and only later on other surfaces, their home seemed to signify, to the young Yosha, living links between the past and present, village and city.
But it wasn’t just the pigmented walls. Gupta had always been equally enchanted by the artists. So much so, as a young child, when her mother tried to bargain with an artist, Yosha started tantrumming, insisting that her mother pay as much as she could. At the end, the artist received more than she had bargained for.
Discovering Harmony at College
Besides art, their home was suffused with music and books. Her businessperson father, despite other tugs on his time, devoured books. “My dad’s love for reading inspired me to read as well. I also developed a love for music early on, thanks to his eclectic taste.” Gupta demanded a synthesizer, something she eventually got after “years of asking.”
As the only member of her family who hadn’t studied at a boarding school, Gupta yearned to inhabit an Enid Blyton idyll like “Malory Towers” or “St. Claires”. At 16, when she was finally dispatched to The Maharani Gayatri Devi Girls’ School (M.G.D.) at Jaipur, she couldn’t wait for the midnight treats: the jam tarts and eclairs and chocolate cakes. Fortunately, M.G.D. delivered on some of her fantasies. Like encountering girls from many regions.
She also leveraged the wider opportunities offered by Jaipur. Intent on deepening her music practice, she joined the school choir: “It was my first real exposure to teamwork and collaboration on a larger scale.”
From Choirs to Romance
Transitioning from M.G.D. to Lady Shriram College (LSR) in Delhi was less daunting than her original move out of home. Yet LSR ushered in a different experience. Attracting high-achieving, feisty women from all over the nation, the college compelled her to reflect on her own identity and ambitions.
Still intent on persisting in music, Yosha dedicated countless hours to the choir. Though she had studied at girls’ schools earlier, LSR was distinct. “It taught me the profound significance of female friendships and how women can uplift each other.” She also recalls their legendary college principal Meenakshi Gopinath, whose iconic speeches and tongue-in-cheek humor “set the tone for our learning experience.”
Her academic journey continued at Management Development Institute (MDI) Gurgaon, where she found more than just education—she found love. “MDI was where I met my life partner,” she says. “Although we weren’t dating then, our paths crossed, and we eventually became a couple.”
Gupta’s time at MDI included a memorable exchange program to Germany. “My first international trip,” she reminisces. “I took a student loan to make it happen.” In Leipzig, an academic town similar to Pune, Yosha fumbled with snatches of German that she had imbibed. Hardly anyone spoke English. She recalls struggling at restaurants, where she needed “vegetarian” food, but no one understood what that meant.
Startups And Artful Adventures
Returning to India, her career led from GE to a fintech startup. This was a time when working with startups was not yet kosher. Moreover, Gupta had watched her own father wrestle with the vagaries of business. There had been interludes during her childhood, when funds were tight and the distress real. Her father had always cautioned his kids to target financial stability, rather than the rollercoaster highs of startups.
“But I was drawn to the excitement in new-age tech.” Moving to Hong Kong, where she joined her partner, she founded a venture, LafaLafa. During that period, she also experimented with traditional art. She adorned her clothing, jewelry, and accessories with hand-painted Madhubani motifs, even commissioning a Madhubani artist to embellish a Gucci bag.
Gucci? No, just me
That bag caught the eye of folks in Hong Kong, who asked her if this was a limited edition Gucci. “It was,” says Gupta. “Limited to one.” Friends asked if she could get one made for them.
Recognizing a clear customer demand, she identified a few root causes for the decline in traditional art forms: lack of awareness and accessibility. Even if people had access to such products, quality was rarely up to the mark. Recognizing a gap, she sensed an opportunity to experiment. Leveraging her base in Hong Kong, she planned to combine Chinese manufacturing with Indian craftsmanship. Setting off on sourcing trips to China, she cobbled together a variety of bags.
She then collaborated with Indian artists (she deliberately refrains from using the outdated, colonial term – “artisan”) to co-create unique pieces. While incorporating traditional motifs, she often had to mute the color palette to appeal to modern, cosmopolitan sensibilities. Even before her website was up, she sold out the hand-painted collection, at prices ranging from $200 to $300.
From Doubts to Wooden Clutches
All this was part of a side hustle, not her main job yet. Her father’s warnings about financial stability continued to ring inside her head. Her first startup hadn’t gained traction, so she consulted with the World Bank on financial inclusion projects.
But her heart had always been tugged by fashion, art and design. She had even attempted the National Institute for Fashion Technology (NIFT) entrance exam before applying to LSR. Moreover, in every place where she had studied and worked, she had also volunteered for SPIC MACAY, spreading awareness about Indian music and culture.
But she did wrangle with uncertainties before committing herself to the venture. Though she possessed innate aesthetic sensibilities as a product designer, she wasn’t sure about her proficiency in manufacturing and materials selection. Moreover, doubts about the venture’s scalability lingered.
While grappling with her qualms, she recognized the need to confront the challenge with action. Unless she invested her time, she could hardly unlock the venture’s potential. Gradually, MeMeraki started taking off. They launched a signature collection of round wooden clutches, involving artists from across India. This too, was lapped up by eager buyers.
Crafting Artist Workshops
Then the pandemic struck. Handbags became non-essentials. Sales plummeted to zero.
By then she had forged a network of at least 30 to 40 artists. While grappling with the future of her enterprise, she started receiving calls from desperate artists. With physical exhibitions and tourism suddenly halting, many were in dire need. Gupta also adds that these artists are proud people, conscious of retaining their personal dignity. Their SOS calls signified that the situation was extreme.
Realizing that the pandemic had also birthed many creative DIY pursuits – “the number of folks baking banana bread? Crazy, right?” – Gupta came up with a save-the-artists plan. She would kick off online workshops wherein artists could impart their crafts to enthusiasts, offering a lifeline to the trainers and patrons.
She also ensured that participants left workshops with finished work. That they could carry a sense of accomplishment and pride in their creations. The first workshop was rolled out to her family members worldwide, the second to her friends’ group. Both were big hits.
She rolled out more. And she noticed their transformative impact. Participants from all corners of the globe connected with artists in a way that had never been possible before. Despite their initial discomfort with technology, artists too embraced the interactions. Yosha also marveled at their ingenuity. Despite barebone setups, they improvised jugaad phone stands – even propped up by bricks – to engage with audiences.
She personally co-hosted the first 200 workshops, forging close connections with the first 1000 to 1500 attendees. Hosting four or five sessions every weekend, for about five months, her team managed to send INR 9 to 10 lakhs to artists, serving as their sole income source. At that point, Gupta directed all earnings to artists, recovering only payment gateway costs.
Transitioning Into Art Edtech
Reflecting on the success of these workshops, Yosha realized that the endeavor was aligned with her passion and skills as a founder. Leveraging technology to impart enduring lessons resonated deeply with her. Connected with participants on WhatsApp groups, she received priceless reviews. Learners seemed keen on exploring more art forms.
Gupta always had a keen eye for customer insights. Sensing the potential for online workshops, she pivoted her business model, incorporating live workshops into her organization. She reached out to artists, offering them hourly rates for workshops along with a sales incentive, ensuring their involvement in the model’s success.
Building on live workshops, MeMeraki responded to requests for longer, more immersive workshops spanning multiple days. Gupta and her team developed structured curriculums for various art forms, like Madhubani, Tanjore, and Talapatra painting catering to different skill levels.
They also started offering art kits containing materials sourced directly from artists. Recognizing another opportunity, they recorded Masterclasses, catering to learners who preferred self-paced classes. MeMeraki’s team traveled across India to record sessions with expert artists. Which they then edited, subtitled, and packaged with supplementary materials like worksheets. The initiative transformed their platform into a significant edtech resource for heritage arts and crafts of India.
Melding Teaching With Product Sales
Since then, with markets opening up, and with customers seeking not just classes – but paintings, home décor products and accessories – MeMeraki runs a two-pronged business. Supporting the teaching of these art forms as well as the sales of art products, conscious that the latter can scale more easily.
Since most artists are not yet savvy with online sales, MeMeraki facilitates the process, handling photography, product descriptions, pricing, website uploads and distribution. Currently products account for 65% to 70% of their revenues.
Challenges with Sustaining Art Forms
When it comes to transmitting traditional arts to future generations, Gupta has observed significant challenges. Having struggled in these vocations, many artists dissuade their children from pursuing similar paths. While a few artists have succeeded and their families have been drawn in, others stay skeptical.
Yosha notes that when artists’ children observe their parents’ workshops being appreciated by international audiences, or their products selling for higher values, their interest is reignited.
MeMeraki has documented more than 100 of the 3000 plus art and craft forms in India. This does not encompass textile and embroidery crafts, which have a complex heritage of their own. According to estimates, there are about 200 million artists in India. Arts and Crafts is the largest employment generator in rural India, outside agriculture.
Unfortunately, many of the lesser-known art forms risk fading into obscurity. Of dying out forever. Some, like Madhubani, Pichvai and Kalamkari have garnered attention, and even experienced a resurgence, especially with Kalamkari’s incorporation into clothing designs. Others like Chitrakathi are unfamiliar to most, even in regions like Maharashtra, where they originate.
Just like agriculture has gained from the injection of technology and scientific expertise, this sector could do with many more startups like MeMeraki.
When Artistry Takes Flight
Regarding the venture’s future plans, they are also expanding B2B projects. Recently, they completed a giant art installation featuring Cheriyal Scrolls, where Cheriyal masks were scaled up to impressive sizes of 10ft, 8ft, and 6ft. This inventive approach garnered acclaim, as part of the Biennale hosted by the Ministry of Culture at the historic Red Fort. Additionally, their team is embarking on their inaugural art installation project at one of India’s airports.
Gupta herself is charged by noticeable shifts in artist lives. For instance, Krishna Tashi Palmo, a female Thanka artist who walks on crutches, made her first international trip to Hong Kong. Despite physical and cultural challenges, she eagerly conducted workshops and interacted with attendees at a festival. For many other artists, MeMeraki has spurred their first foreign journeys.
The team notes a profound shift in attitudes towards artists. Comments on their social media reels reflect newfound respect and appreciation, with individuals pledging to refrain from bargaining with such creators in the future. And valuing them as national treasures and as custodians of our culture, as they rightfully are.
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