Michelangelo Foundation Focusing More on U.S. to Champion Artisans

To strengthen and preserve contemporary artisans and their skills, the Michelangelo Foundation for Creativity and Craftsmanship is expanding its Homo Faber initiative in the U.S.

Created nearly 10 years ago, the foundation’s goal is to “promote, protect and champion fine artisanship all over the world to make sure that all of that precious know-how that is instrumental and pivotal for the world of design, fashion and everything that is truly beautiful continues,” according to executive director Alberto Cavalli, who hosted an event in New York Tuesday. “Can we imagine something beautiful that is made without human skills? I’m not sure.”

At Tuesday morning’s event at the Whitby Hotel, he said that the group believes “authentic beauty is always made by humans and for humans. And artisans all around the world use this idea by transforming materials to create something that still makes our hearts beat faster.”

Well aware of mass consumption, Cavalli said, “Do you think people need another jacket or another sofa? Please. We have everything, but we all need to dream. Objects that are made with love, beauty, care and passion still make our hearts beat faster and we can’t imagine that without the artisans.”

The Geneva-based nonprofit was started by luxury specialists Johann Rupert and Franco Cologni to give something back to the world of craftsmanship. In 2018, the foundation introduced Homo Faber to bring together all elements of craftsmanship — artisans, designers, institutions, collectors, galleries and craft experts to build up craftsmanship. Supporters now see greater urgency in this era of AI.

In an effort to carry artisans’ expertise into the future, the foundation is working on creating opportunities, and increasing visibility through a geo-localized Homo Faber online guide. As of now, more than 3,000 creatives from 50 countries are featured and next year the U.S. chapter will be launched. Every 15 days new talents are added based on 11-point criteria that is also used to help participants improve in certain areas too. The aim is to have more than 200 U.S. artisans in the Homo Faber Guide by spring 2026.

“Every job is noble. Let’s talk about a plumber — wow, that’s super important and an electrician is too. But the artisans that we work transform materials into creativity,” Cavalli said.

The artisan sector is the second-largest employer in the developing world after agriculture, and is worth more than $32 billion every year, according to the Artisan Alliance. Hundreds of thousands of people across the globe, particularly women, work in the area.

There is also a Homo Faber NextGen which supports educational projects including Homo Faber Fellowships — six-month apprenticeships for young artisans to gain on-the-job training with recognized masters in their preferred disciplines. The global program can be done in person or remotely. (One plumassier went on to work at Dior.)

Another component is the Homo Faber Biennial, an international gathering that is held in Venice every two years to showcase craftspeople. Last year’s event attracted 51,000 visitors, who perused 800 objects. The next edition will be a monthlong one in September of 2026 with a new artistic director, who has not yet been named. Cavalli said, “If you invite people to change their minds about the relevance of doing something talented with your hands, they become somewhat happier. We see it with the visitors, who typically spend about eight hours at the exhibition, when I help them to jump on the vaporetto to leave. Yes, I am the executive director, but I also help dust the objects and help people find the toilets. When they leave, I see something in their eyes that say they hope all of this beauty will last.”

The fact that 50 artisans from the U.S. including Liam Lee, Peter Olson, Roberto Benavidez, Andi Kovel, Maxwell Mustardo and Toots Zynsky attended last year’s biennial encouraged the team to venture more into the U.S. “There is huge potential in this country. There are a lot of master artisans who are really using their crafts,” Cavalli said.

Other organizations are also working to preserve craft and to draw attention to ones that are diminishing. UNESCO considers traditional crafts to be part of intangible cultural heritage and works to preserve them. Crafts are flagged on its directory of intangible cultural heritage that is being threatened by different forces. One example is the building and use of the expanded dugout boat from the Soomaa region — a canoe-like boat that is hollowed out from a single tree.

Separately, in February, UNESCO and India’s Ministry of Textiles showcased India’s handloom and handicraft industries to highlight their potential for transformation at the New Delhi textile fair.

Heritage Crafts periodically releases a list that examines crafts and trades that are endangered. The 2023 “Red List of Endangered Crafts” flagged straw hat making, encaustic tile making, violin bow making and hat block making among those that are at risk. In previous years, clog making, fabric pleating, hat plaiting, damask weaving, plume making, watch making and coiled basket straw making were among the “critically endangered” crafts, and glove making, block printing, hat making, fairground art, and canal art and boat painting are among the “endangered.”