Fernandes Guitars – Japan’s Bold Innovator from Copy Roots to Original Icons

Fernandes began in the 1970s building faithful copies of American designs — but its story soon took a different path. Over decades of production, the brand introduced innovations like the Sustainer system and the playful ZO-3 mini guitar. It’s a story of evolution, reinvention, and eventual decline — yet Fernandes’ legacy continues to echo through Japan’s electric-guitar culture today.

Key Points

• Fernandes Guitars began as a 1970s copy brand before becoming one of Japan’s most innovative builders.
• Innovations like the Sustainer system and the ZO-3 mini guitar defined its identity.
• Despite bankruptcy in 2025, Fernandes Guitars remain influential in Japan’s electric-guitar history.

Originally a wholesaler of classical guitars, Saito Gakki changed its name to Fernandes Co., Ltd. in 1972 and began producing electric guitars, basses, and accessories.

In its early years, the company earned recognition for building high-quality replicas of American classics — Fender-style models under the Fernandes name and Gibson-style instruments under the Burny label.

But rather than remain a copy brand, Fernandes soon began carving out its own identity.

By the 1980s, the company was releasing original designs, artist signature models, and experimental instruments that broke traditional molds. Perhaps the most iconic is the ZO-3, a compact guitar with a built-in amplifier that became a pop-culture phenomenon in Japan during the 1990s. Through these innovations, Fernandes built a reputation for valuing both creativity and accessibility — a combination rarely seen in its era.

In 1985, the company expanded beyond manufacturing to establish a guitar-making school, offering an encouraging yet rigorous curriculum that helped nurture the next generation of Japanese luthiers.

In 2025, however, Fernandes Co., Ltd. entered bankruptcy proceedings in Tokyo District Court following a long period of declining sales and production. 

While the brand’s corporate future remains uncertain, its instruments continue to be admired by players and collectors worldwide — a lasting testament to Fernandes’ impact on Japan’s electric-guitar culture.

Unlike many builders with in-house factories, Fernandes focused on planning and design, outsourcing production to skilled Japanese manufacturers. This allowed the brand to experiment with numerous models, hardware variations, and artist specifications without being tied to a single facility.

One of Fernandes’ signature innovations is the Sustainer — an active pickup system that drives the strings to vibrate indefinitely. It enables infinite sustain and harmonic feedback at controllable levels — a feature used by players like Steve Vai and The Edge to create ethereal, violin-like tones.

The ZO-3 mini-guitar — featuring a short 609 mm scale and a built-in amplifier — is a prime example of Fernandes’ playful engineering. It blurred the line between instrument and gadget, making it perfect for travel, backstage warm-ups, or bedroom jams.

Beyond that, Fernandes pushed boundaries with original shapes and artist-tailored designs, combining creativity with functionality. Together, these qualities made Fernandes a go-to brand for guitarists seeking practical innovation infused with Japanese originality.

• Rock, hard rock, and metal players who prefer compact body, 24-fret access to have high tone. The FR Series exemplifies this with its “super-strat” layout and technical ergonomics.
  
• Sound designers and experimental players who want to expand their tonal palette through the Sustainer system and coil-tap options.
  
• Beginners or intermediate players who want a trustworthy Japanese brand offering strong cost-performance.
  
• Casual and travel players looking for compact models like the ZO-3, which combines portability with a built-in amp.
  

If you’re seeking luxury tonewoods or vintage prestige, Fernandes may not be your match — but if you want a creative, performance-oriented Japanese guitar, it’s a compelling choice.

Fernandes’ original body design with bold, modern curves. First developed in the United States and later popularized in Japan, the RAVELLE combines the warmth and depth of a Les Paul–style tone with easier access to higher frets. Its distinctive look and playability made it a favorite among rock and hard rock guitarists.

Fernandes’ interpretation of the super-strat concept — featuring a compact body, fast-playing neck, and full 24-fret access. While popular among metal players, its balance of speed and comfort makes it suitable for nearly any playing style.

A reimagined take on the Telecaster, designed for Japan’s 1980s rock and Visual Kei scenes. The TEJ features a Tele-style body paired with a Concorde-head neck, a Fernandes original — a design never seen before.

With its monochrome finishes and clean, minimalist hardware, it exudes a modern, refined aesthetic that perfectly matches the sound of rock.

The legendary mini guitar featuring a built-in amplifier and speaker. Upon release, it achieved massive success in Japan, becoming both a practical tool and a cultural phenomenon. To this day, the ZO-3 remains one of the most recognizable Japanese guitar silhouettes ever produced.

Fernandes has also produced numerous artist models and custom projects, including the MG Series and the professional-grade P-Project line.

In addition, Fernandes developed the BURNY brand — a domestic line specializing in Gibson-style copy models designed exclusively for the Japanese market.

Fernandes Guitars tells the story of a brand that evolved from copy-maker to creator.
From its early copy models to cutting-edge designs like the ZO-3 and Sustainer-equipped FRs, Fernandes continually redefined what a Japanese guitar could be.

Today, it stands as a legacy of ingenuity and accessibility — a reminder that true innovation doesn’t come only from luxury, but also from curiosity.

Whether you’re a touring artist, a home player, or a collector of unique Japanese designs, Fernandes deserves a place in your MIJ lineup.