I grew up in the Swedish countryside in a small village inhabited by very active, strong women. Some sewed, some embroidered; all had close interaction with nature. I took in everything, but I was more focused on maths than arts. That’s why I studied engineering, but I soon understood I couldn’t unleash my creativity in that.

The pivotal moment came in 2007, thanks to the support of Spanish designer Elisa Palomino, who was a juror in the Talent Support competition in Trieste. I first worked with Georges Morand, a master glove maker in Saint-Junien, then Agnelle and Maison Fabre, two other important Parisian institutions.

And to nature, I would add. They are my main sources of inspiration. I observe the floral photos by Karl Blossfeldt or the works by Oscar Niemeyer and I start to draw. I always prefer to work with leather, although I like to mix it with more unconventional materials, such as vinyl, lace and innovative textiles.

Until ten years ago it was virtually impossible to find gloves in a fashion magazine. In the 1980s and 90s they were swept aside by bags and shoes. Today there is a revival of the craft of the glove maker, and the attention that the press devotes to my creations fills me with pride.