Traditional Crafts of Seychelles: A Look at Master Artisans and Their Skills

Simon Marie, a wood and coconut shell carver from Mont Plaisir in Anse Royale, put it plainly: “Producing handicraft pieces very fulfilling if passionate, much to learn, satisfaction from realizing ideas.” He was speaking to a reporter from the Seychelles Nation about a career that began with paint samples from a hardware store and grew into a full-time commitment to original Seychellois handicraft. His story — along with that of Zilida Cassimir, a doll-maker with over four decades of experience — opens a window onto a side of Seychelles that most visitors never see.

This article examines the people behind Seychelles’ traditional crafts — the weavers, doll-makers, carvers, and dhow builders — and what sustains their work in the face of real threats. It’s written for travelers who want to buy authentic pieces with genuine understanding, and for anyone curious about how small-island craft traditions survive in a globalized economy.

These five craft traditions each connect to a different strand of Seychellois life — the land, the sea, the household, and the market. But they share a common thread: the people who practice them are aging, and the next generation is not lining up to take their place.

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Safari Weaving — A Language of Leaves

Weaving is called safari in Seychelles, and it uses natural materials that the islands provide: pandanus leaves, coconut husk fibers, and raffia. Artisans turn these into baskets, mats, and hats — items that are functional but also carry stories of family tradition. The techniques are passed down through generations, often from mother to daughter, though men also weave in some communities.

The Harbinger Standard notes that each woven piece “requires skill and patience” and that the items are “imbued with stories and traditions.” What’s less visible to a buyer is that the raw materials are becoming harder to find. Zilida Cassimir, the doll-maker, also weaves items from tanmi koko (coconut fiber) and raffia — fruit baskets, table mats, lampshades, bags — and she has watched the supply of quality local materials shrink over the decades.

For more on the techniques and regional variation in Seychellois weaving, see the earlier IslandHopperGuides piece on local crafts.

Zilida Cassimir and the Creole Doll Tradition

Zilida Cassimir lives in Grand Anse on Mahe and has been making dolls for more than 40 years. Now over 60, she still sews ring dolls, sega dolls, and traditional Creole dolls on a Butterfly brand manual sewing machine. She learned the craft as a young woman from a foreign neighbor who lived nearby — a woman who sought out local people to teach and help make dolls. Cassimir was interested and stayed with it while other girls drifted away.

Cassimir’s dolls embody the cultural fusion that defines Seychellois identity. They are made from local fabrics and dressed in traditional clothing that reflects African, French, and Asian influences — each doll unique, each one a small statement about where Seychelles sits in the world. She originally sold her dolls at the Reef Hotel, Mahe Beach Hotel, and Beau Vallon Beach Hotel. Today her outlets include Codevar, the Artisans Des Iles shop opposite the post office in Victoria, Duty Free, Pineapple Studio, and Victoria Market.

Cassimir also runs a flower nursery at home — she describes plant care as therapy — and sources some raw materials from neighboring Mauritius when local supplies fall short. She regrets that few young people want to commit the energy to producing original handicraft items, and she calls for more encouragement in schools, the way it used to be.

Simon Marie — Carving a Legacy from Coconut Shell and Wood

Simon Marie worked at P&J Hardware Store in Anse Royale before he became a full-time artisan. He started by taking paint samples home and creating artwork on wood pieces rather than throwing the samples away. Over time he discovered a deeper interest in carving wood and coconut shell, and he gradually bought more power tools to improve his finishing work.

His mother, known as Miss Marthe, was a teacher who taught handicraft for decades. Marie credits her as the source of his interest, though he describes himself as naturally curious — he conducts his own research to improve his work and create new pieces. He has had no formal training apart from a few sessions organized by the Small Enterprise Promotion Agency (Senpa) and the Enterprise Seychelles Agency (Esa), focused on packaging and labeling.

Marie works primarily with coconut shell — which he calls strong and durable — and a local wood called kalis dipap, which he says is soft and easy to carve. He produces tortoises, fish, coco-de-mer nuts, and sea turtles, each piece polished and varnished. His clients appreciate the finishing and quality, and that satisfaction drives him to keep improving.

The Dhow — Maritime Craftsmanship on a Small Scale

Dhow building is the oldest continuous craft tradition in Seychelles. These traditional fishing vessels have been central to Seychellois life for centuries, serving as a vital link to the islands’ history, economy, and social structure. The Harbinger Standard describes the meticulous craftsmanship involved as a reflection of the islands’ maritime culture.

Unlike weaving or doll making, dhow building is almost exclusively male and requires a different scale of resources — seasoned wood, workshop space, and the kind of knowledge that takes decades to master. The number of active dhow builders has shrunk significantly, and no younger generation has stepped forward in numbers. The craft is not dead, but it is at a tipping point.

To understand the broader maritime and colonial context that shaped these boat-building traditions, the article on Seychelles’ colonial legacies and independence provides useful background.

Threats to the Craft Tradition — What the Artisans Say

Simon Marie is blunt about the state of the sector. He told the Seychelles Nation that many artisans are “killing the local handicraft sector through lack of creativity and innovation” and that products on the market have become “monotonous and boring.” His sharpest criticism is reserved for artisans who import handicraft items in bulk from abroad, modify them slightly, and sell them as locally made. He says visitors recognize the difference, and the practice damages the tourism industry’s credibility.

Marie calls on the Ministry of Investment Entrepreneurship and Industry and the Enterprise Seychelles Agency to address the issue before “original handicraft production dies out.” He also wants regular training for existing artisans, both local and foreign expertise, to help upgrade products. The Creative Seychelles Agency has made recent moves to encourage youth interest, but Marie believes much more is needed.

Zilida Cassimir echoes the concern about young people. She recalls that many girls were initially eager to learn doll making but later lost interest. She sources some materials locally but brings a significant amount from Mauritius — a sign that the islands’ own raw material base is under pressure. She urges anyone entering the sector to be passionate, to do it with heart, and “not bring in craft from other countries and alter them.”

Context and Comparison — Traditional Craft vs. Imported Imitation

The most pressing issue in Seychellois handicraft is not a lack of skill — it’s the flood of imported items that mimic local styles. Simon Marie’s complaint is specific and documented: some artisans buy foreign-made craft in bulk, alter it minimally, and sell it as their own. This makes it harder for genuine artisans to compete on price, and it erodes buyer trust.

The situation is still debated among artisans and policymakers. Some argue that importing raw materials (as Cassimir does with some supplies from Mauritius) is a practical necessity, not a betrayal of tradition. Others, like Marie, draw a hard line at importing finished goods. The Creative Seychelles Agency and the Ministry have made some moves toward support and training, but Marie says existing artisans need regular upskilling and that “skilled artisans are getting old and losing ability to produce unique island handicraft.”

Questions Readers Ask

How can I tell if a handicraft in Seychelles is genuinely local?

Look for materials specific to the islands — coconut shell, kalis dipap wood, pandanus weaving, local fabrics. Ask the vendor directly where the item was made. Simon Marie and Zilida Cassimir both sell through known outlets: Marie at his workshop in Anse Royale, Cassimir at Victoria Market and Artisans Des Iles.

Are there organized tours that visit artisan workshops?

Yes. Several cultural tour operators include craft workshops in their itineraries. The Cultural Tours category on Viator lists options that typically combine market visits, artisan demonstrations, and historical context.

Is it true that some “Seychellois” crafts are actually imported?

Yes. Simon Marie has publicly stated this, and the Seychelles Nation article documents his concern. Some artisans import items from abroad, modify them, and sell them as local. This is an ongoing issue that the Creative Seychelles Agency and Ministry are aware of.

Why aren’t more young Seychellois taking up traditional crafts?

Both Marie and Cassimir cite a lack of formal training opportunities and insufficient encouragement in schools. Zilida Cassimir recalls that many girls were initially interested in doll making but lost interest over time. The informal apprenticeship model means there’s no structured pathway into the trades.

Can I take a tour focused on Seychelles’ rum-making tradition as a craft?

The Takamaka Rum Distillery offers guided tours that cover the rum-making process from sugarcane harvesting to distillation, with tastings. The distillery is a good example of how craft traditions extend beyond visual arts into food and drink. The Plantation Tours category on Viator includes options that combine distillery visits with broader agricultural context.

What the Artisans’ Persistence Reveals

The stories of Simon Marie and Zilida Cassimir are not just about preserving old techniques. They are about people who chose, against economic logic and in the face of indifference from institutions and younger generations, to keep making things by hand from the materials of their islands. Their persistence reveals something about Seychelles that no beach photo can capture: a culture that still values the specific, the local, and the handmade — even when the market makes it hard.

To understand how this craft tradition fits into the broader story of Seychellois identity, the article on Seychelles’ history and heritage beyond the beaches offers deeper context on the social and economic forces that have shaped these islands.

Sources and further reading

Harbinger Standard. “Traditional Crafts Reflect the Cultural Heart of Seychelles.” 🔗

Indani Travels. “Local Arts and Handicrafts of Seychelles.” 🔗

Seychelles Nation. “Local Artisans Determined to Continue Producing Original Handicraft Work.” 🔗

Related reading on IslandHopperGuides

Seychelles’ Architectural Heritage: French Colonial Mansions and Creole Cottages Unveiled — examines the built environment that parallels the craft traditions in materials and cultural fusion.

Exploring the Seychellois Kreol Language: Roots and Influences — the linguistic equivalent of the cultural fusion visible in Creole dolls and woven patterns.

Melodies of Seychelles: The Heartbeat of Folklore Singing — another living tradition facing similar pressures of generational turnover and commercialization.

Moutya Dance: Seychelles’ Rhythmic Rebellion and Enduring Spirit Remembered — a dance tradition that, like the crafts, carries African, European, and Asian influences in its movements.

Seychelles’ Religious Harmony: A Testament to Inter-Faith Understanding — the religious dimension of the same cultural fusion that produces Creole dolls and safari weaving.