Get to Know
MAGALIE NOEL DRESSE, OWNER OF CARIBBEAN CRAFT AND PASSIONATE ADVOCATE FOR HAITIAN ARTISANS

Story by Diana Keeler / Photography by Melanie Yates, David Chow

Magalie Noel Dresse (above left) was just 10 years old when she realized the powerful role she could play connecting artisans in her native Haiti to a global marketplace. “From the time I was quite young, I would spend every summer in Hopatcong, New Jersey,” Noel Dresse says from her headquarters in Port-au-Prince, Haiti. As a teenager, she would work summer jobs — like at a photo booth in her local mall — but by then she’d already begun trading between her two homes, supplying her friends in New Jersey with key chains hand-carved by Haitian artisans.

“I was raised in a place where everybody would say that the country was going down the drain. But there's so much potential. Very early on when other people would say, ‘That’s worthless,’ I would always find the potential in everyone and everything around me.”

At Caribbean Craft, a small group of artisans specializes in crafting Papier Mache objects like the simple, beautiful bowls made exclusively for Bloomist. The Haitian technique involves layering recycled paper (not using pulp) which results in objects that feel more like wood.

“They didn’t have the access to a custom piece otherwise — that was what was so special to them, the chance to have something with their name on it, or a message like ‘I love you,’” says Noel Dresse, for whom the experience was a revelation. “I've always been passionate about showing Haitian work to others,” she says.

“I’VE ALWAYS BEEN PASSIONATE ABOUT SHOWING HAITIAN WORKS TO OTHERS.”

– Magalie Noel Dresse

In 2006, Noel Dresse assumed ownership of Caribbean Craft, which acts as a global evangelist for over 100 Haitian artisans. By this time, Noel Dresse was not just a committed entrepreneur — she had earned a bachelor’s degree in industrial engineering, followed by a master’s degree in marketing from New York University. This made her unusually skilled in understanding and resolving inefficiencies in artisans’ process.

Use our versatile Papier Mache Bowl on a cocktail table to display bits of found nature or show off our Pale Wood Chains. They also work as centerpiece bowls on a dining table or hall console.

“I KNEW THAT WE NEEDED TO PUT THE EMPHASIS ON EFFICIENCY – AND IN DOING SO, FIND WAYS TO MAKE THE ARTISTS MORE MONEY.”

Fixing them, she says, has resulted in profound improvements in those artisans’ efficiency and earnings. “What I discovered when I took over the company in 2006 was how the lack of systems was holding it hostage,” Noel Dresse says. “I knew that we needed to put the emphasis on efficiency — and in doing so, find ways to make the artists make more money. We would have a situation where it might take an artisan three days to finish a piece — so it was impossible to be competitive. We had to break down these processes, so that now they’re able to make very decent money.”

Among the hundred-plus artisans Noel Dresse works with, some specialize in papier maché, which, she says, is a distinct practice from the papier maché of Mexico and other countries. (It’s also the handicraft on display in Caribbean Craft’s collaboration with Bloomist.) “Papier maché in Mexico uses more of a mashed paper, while in Haiti it’s more of a layered paper — so the papier maché from Mexico has an airy feel to it, while in Haiti it feels more like a wood.” The finish is also different — deeply textured, thanks to the addition of sisal. It’s all reflective, Noel Dresse says, of a deeply creative culture that has yet to earn the international profile it deserves — for its resilience as well as its deep well of creativity. Noel Dresse now works with 102 artisans — down from 500 in 2010, when the company, and much of Haiti’s infrastructure, was destroyed in a devastating 2010 earthquake.

Pictured: Papier Mache artists at the Caribbean Craft workshop.

“We had to start from scratch and move [the company] to my house for six months, until we had a facility,” Noel Dresse says — nearly repeating the entire process in 2019, when the new facility burned down. “Haiti is the sort of place where everybody has a brush and paint, where everybody paints on the walls, on any piece of paper,” she says. “Kids might not have toys, or they might not be able to go to the theater to see a movie, but they’ll have access to a chalkboard and a piece of chalk, so they’ll draw. They’ll have access to small pieces of wood, they’ll build a little car. Haitians are very creative, and from a very early age, we’ll create things on our own, because nothing is given to us.”

Pictured: They mix recycled paper with natural sisal (right) to give ‘Haitian Papier Mache’ a textured, more substantial feel.

"HAITIANS ARE VERY CREATIVE, AND FROM A VERY EARLY AGE WE'LL CREATE THINGS ON OUR OWN, BECAUSE NOTHING IS GIVEN TO US."