Skills
Strategic Problem-Solving
Data-Driven Decision Making
Project Management
Financial Analysis & Budgeting
Making Things Happen
A good and 'lemony' journey
My name is Ahmed Fahud, though many know me as Faudii. I am an Imagineer, engineering creativity and strategy to design innovative and resourceful experiences. My creative journey began around 1998 as a graphic designer, and since then, I've expanded my expertise to include solutions engineering, marketing communications strategy design, immersive experience design, instructional design, project management, technical direction, and more.
I am the co-founder and product design lead of Oaga Art Resort, a hospitality product that bridges travelers and the Maldivian creative community, and Oala.app, a digital application specifically designed to nurture critical thinking and Dhivehi Language Arts for children ages 3-11.
My core design philosophy is to create products or experiences that facilitate human harmony with the natural order. I believe this requires shifting current conditioning towards a cohesive approach that nurtures creativity, resulting in positive and dynamic economies that empower individuals.
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Centerpiece 99 - Promotional Flyer
My creative journey began in 1998 as a graphic designer, a passion ignited during secondary school with small projects for friends. This early spark intensified during my higher secondary years when I produced 'Center Piece 99,' our school's annual concert. This pivotal experience introduced me to the vibrant world of Maldivian performing arts, allowing me to learn from legends like Zero Degree Nashid. He opened my eyes to the intricacies of front-of-house sound engineering, working alongside a sound engineer who had collaborated with Toto. Mezzo Mode, another mentor, further fueled my passion for performance art and production.
Immediately after high school, while awaiting my A-level results and harboring dreams of becoming a pilot, my connection with Mezzo Mode led to my first commercial gig: producing the Mezzo band's album launch concert at Olympus. This project was a comprehensive immersion, from album art and collateral design to concert branding and my first commercial TVC. I even delved into set and stage construction, and backstage management. This was my 'micro-learning' project, revealing the nuances of production management, especially in the Maldivian context where artists often struggled. The sheer passion of these artists was truly inspiring.
This experience shifted my trajectory. I realized piloting wasn't my calling; the creative world I was discovering was too stimulating.
From left to right - Boadhigu Mohammed, Mezzo Mohammed and me, on stage of Mezzo Band 'Xth' Show
"During this engagement I met Boadhigu Mohamed, a marine mechanical engineer, who mentored me in the practical applications of mechanical physics in set construction and backlit signage. Witnessing the creation of the Maldives' largest backlit signboard for Alia Investments' Yamaha Showroom was a defining moment. Also straight after, I got to design the Gender Ministry's yearly report, a project that sparked my interest in socio-economic issues. The report's depiction of child abuse from broken families deeply affected me, highlighting the potential for change in our small nation.
Formal Education in 'Digital Media'
In 2001, convinced of my creative path, I pursued a Bachelors' in Digital Media at UNSW's College of Fine Arts. This was a transformative period, validating my creative curiosities. I explored arts, humanities, critical thinking, and the application of math and physics in creative domains. I also gained practical experience as a gallery assistant at the Australian Art Print Network.
While pursuing my undergraduate degree in Digital Media at UNSW, I had the opportunity to learn from industry professionals. From Dr Alexander Kershaw, I refined my introduction to photography and its techniques, and from Dr Trent Jenson, I learned the intricate importance of detail in all endeavors.
A streak of firsts
After completing my undergraduate studies, I returned to the Maldives in 2005 and initially joined the National College of Art (NCA) as a part-time instructor, teaching introductory videography courses. Subsequently, I established my own venture, providing wedding video coverage. A successful project led to an opportunity to create my first commercial TV advertisement for Bank of Maldives. Since then, I've had the privilege of contributing to marketing and PR campaigns for leading Maldivian organizations such as Dhiraagu, Maldivian Aero, ADK Company, and Ooredoo.
TVC to promote '24 hour Cheque Deposit Service' for people who found it inconvenient to visit during normal bank operation hours; circa 2007
2008 was a time of change in the Maldivian socio-economic and political landscape. I was approached by Atoll Television and Radio Atoll, the first privately licensed broadcaster, to creatively head their production department. By this time, I had already established myself as Ahmed Fahud Studio, and we merged the production house of the TV station, which proved to be a dynamic period. This stage of my life was one of the highlights of my artistic and creative endeavors. I had the opportunity to work with numerous creative individuals in the country—legends, established and emerging. Fasy Live, Shiuz, Traffic Jam, [placeholder to add more people]—this chapter in my life warrants its own blog.
FasyLive Silver
Shiuz Live at Sultan Park
Kalaa Manna
Then, in 2009, I had the opportunity to work on another first in the Maldives and the world: the first-ever underwater cabinet meeting and 24-hour climate protest underwater. My learning curve in live production peaked in 2009 when I collaborated with Tedry Niyaz as a technical director for the Maldives underwater cabinet meeting, an unprecedented event held by President Nasheed to draw global attention to the imminent dangers of climate change. With the trust and collaboration I had established with Tedry on this event, he offered me the position of Creative Director for the 24-hour climate protest, where everything from sleeping to drawing, yoga, aerobics, discussion forums, and even praying took place. This was the first time I directed a 24-hour live event, which was both exciting and frightening, given that we were working with makeshift tech gear and teams who were all doing this for the first time.
Making of 365
Displaced pockets of creativity
Then, in 2010, I joined Maldives Entertainment Company as acting managing director, which opened my eyes to the socio-economic realities of the creative and cottage industry in the Maldives. To sum it up, "ފެންކައްކާ ބޮލީގެ އިއްޒަތް" was the understood norm and condition of artists in the Maldives. For political campaigns and fundraising events, these creatives were brought in, often voluntarily, and once the activity or "use" was up, the artists were somewhat packed up and put into storage. Here, I began exploring possible solutions to bridge the gap between the role of creativity in society and teh advocation of embracing artistry as a functional element for a healthy, and learned society. Here, I developed, with NCA and other stakeholders, the first framework of the Maldives Creative Hub, a center that would cohesively function as an incubating hub and economic diversification tool. Sadly, this didn't come to fruition due to the socio-political turmoil that took place in the Maldives from 2011 onwards."
Artists Interview Video
'Artist HUB' concept proposal
This setback, coupled with industry shifts, led me to a year of travel across the Maldives, connecting with artisans, musicians, and entrepreneurs. I was struck by their resilience and resourcefulness. I met young musicians and entrepreneurial minds in Addu, weaving artisans and young surfing wiz kids in Gaafu Dhaalu, lacquer work artists and traditional cooks in Baa Atoll, to great boat builders and carpenters towards the north of the country in Raa and Shaviyani, and agricultural farmers. I was amazed by the resilient nature of these creative people and how resourceful these humans are, especially existing in a country as geographically displaced as in Maldives.
Shifting Focus
Then in 2014, I took a job to manage and run an agricultural island in the north of the Maldives. I would think this further brought me deeper to working with island communities, especially in Shaviyani Atoll. Here I met hardworking creative people and understood their way of life in a deeper sense. Also during this process I learned the processes involved with commercial farming, here my mentor was Waheedbe a veteran of 20 plus years in farming, and how to translate or transform the current practices to more modern and sustainable practices. This again was an area I found out, just as any other industry in Maldives, that required incubation and policies geared towards diversifying economic fields and talent, in order to really excel. I was starting to connect the dots.
Madidhoo Island
Following the setting up of the Agricultural island, in 2016, I got reassigned to a reclamation project, essentially as the Project Manager to, reclaim 5 islands in Male' Atoll for resort development. Coming to term with taking in this job was another journey of its own. The only justification for me was that the EIA report mentioned that the damage caused to the natural reef system outweighed the socio-economic benefits to the local communities. Then I thought, I am in this situation, might as well make the best use out of this, and decided in order to honor this justification, I will do all that I can to make sure to contribute to the local economy. We hired young local people from different parts of Maldives, and it was more of an incubative process, where these skilled individuals have been molded into professionals, surveyors, carpenters, mechanics, masons, project supervisors, MEP technicians and so many more. During this time I got to work with people like Dale Dagelman, a veteran dredgemaster from the US, Akki from Coralive, and local experts like Spaces Architects, Ahmed Zahid, and Sidey from SIARCH, Hannan Architects and Aidiz, Marine Engineers like Hassan Khaleel.
Reclamation Image
Co-founding Oaga Art Resort and Realizations (2016 - 2022):
"Following the reclamation of the islands, I transitioned into managing the construction of the first resort. This phase continued until 2019, when the COVID-19 pandemic brought everything to a halt. This unexpected pause provided a crucial opportunity for reflection, allowing us to replan and restrategize the project's direction.
When the project restarted in late 2020, required us to essentially rebuild momentum and reimagine the resort's launch. This pivotal moment became a crucible, forging a synthesis of all my previous experiences. My early observations of the hospitality industry as an event and wedding videographer, my understanding of corporate and economic functions gained at Maldives Entertainment Company, and my deep connection to the local community and cottage industries—all of these elements converged.
It was in this context that, alongside family, friends, acquaintances, other founding partners, and, most importantly, Mr. Ahmed Nashid, the owner and chairman of ADK Group, one of my deepest mentors, a visionary businessman and entrepreneur behind the Maldives' first private hospital, ADK Hospital, I spearheaded the creation of Oaga Art Resort, the first true ART Resort in the Maldives. This endeavor was marked by numerous firsts:
Oaga Art Resort
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The First Open Community resort, designed to foster interaction and storytelling between staff and guests.
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The first resort to directly support the fine art community through its "Gallery Rooms," where curated artwork is displayed, and artists receive a commission for each occupied night.
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The introduction of theatrical dining experiences.
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The first true Local Spa experience on a resort, the brainchild of Naani and Zubba.
the present... 2024's
Throughout this intense period of creation, I was constantly reflecting on my past experiences, which led to a profound realization: Maldivians possess incredible talent, skill, and eagerness. Yet, the statistics painted a starkly different picture. The Maldives' workforce was grappling with a 51% skills mismatch and a 19% NEET (Not in Education, Employment, or Training) rate, according to the 2022 census. This disparity was deeply concerning, especially given my direct experience working with skilled young locals since 2016.
Around this time, I was also collaborating with Shiuz and my partner, Maa, on a children's storybook app—a creative outlet to share our stories and songs with children in a safe digital space. Simultaneously, the resort's operations weren't unfolding as smoothly as envisioned. It proved more challenging to acclimate standardized tourism industry workers to the 'No Rules - Rules' ethos than the blue-collar community I had worked with previously.
This confluence of experiences prompted a fundamental question: Why?
Oala Image Carousal
While the exploration continues, I believe I'm nearing the root cause: the Maldivian education system. Our history testifies to the resilience of Maldivians. Surviving in a geographically dispersed nation, as some scrolls suggest since 300 BC, demanded a diverse skill set. Our ancestors were communities of skilled individuals—farmers, fishermen, toddy tappers, carpenters, stone workers, artisans, medical maestros, healing therapists, and master navigators. However, through global conditioning, we've distanced ourselves from our origins and values, becoming confined by textbooks and tests. We've abandoned the contextual learning that defined our forefathers.
This realization has focused my efforts on creating a balanced platform for children—hence, the birth of Oala. I believe the most sustainable and immediate solution lies in incubating, diversifying, and empowering the cottage industry, while integrating curriculum-aligned STEAM programs and digital learning into primary education. This is now my core mission.
And this is the story of how I obtained my skills as an Imagineer, a Creative Strategist, and a solutions engineer. It's the story of how I see the connectivity of EdTech and Hospitality as a catalyst for expanding other economic sectors in the Maldives, ultimately diversifying the nation's overall health. In the meantime, I remain passionate about creating, strategizing, and aligning corporate activities and campaigns to achieve societal symbiotic benefits. This is the work that drives me today.