Starting her life in the Swedish countryside, studying in the Netherlands, and opening her shop in Paris; Thomasine Barnekow has explored many parts of the world along life’s way. Maybe this has a part to play in her unique vision of glove design, which has undoubtedly catapulted her artistic career.
Since 2008, Barnekow has collaborated with leading fashion houses such as Schiaparelli, Mugler, and Maison Margiela, while having her designs worn by the likes of Beyoncé, Margot Robbie, and Kim Kardashian. Although an esteemed clientele, her humble presence is all-encompassing. Based in Paris, the home of haute couture, Barnekow describes living with her family above her central boutique as ‘a bit of a fairytale’. With clients based around the corner and work conveniently a few steps underneath her home, it sounds like it too.
09 December 2024
Collaborations
The One Lady Show
She collaborates with prestigious fashion houses. Her designs are admired by celebrities. And, if that wasn't enough, she runs her own accessory business. Thomasine Barnekow has a unique positioning in the fashion world. We team up with her to push the boundaries of denim design, resulting in an exclusive, couture capsule collection and one very distinctive ready-to-wear glove, available now.
How did Thomasine, your brand, start?
When I studied at the Design Academy Eindhoven, I thought I would become an industrial designer and left as a textile designer. One of my projects was a glove collection and it became my future. But I had no idea it would be what I do today, I couldn't even imagine. After my studies, I took part in an Italian fashion competition and was recommended to work for a glove company in Paris, France. My first collection was very different from the client’s usual work, so we decided to differentiate it by calling it ‘Thomasine’. And that's how it started. After a few years, I decided to push my own brand and set up production.
When I studied at the Design Academy Eindhoven, I thought I would become an industrial designer and left as a textile designer. One of my projects was a glove collection and it became my future. But I had no idea it would be what I do today, I couldn't even imagine. After my studies, I took part in an Italian fashion competition and was recommended to work for a glove company in Paris, France. My first collection was very different from the client’s usual work, so we decided to differentiate it by calling it ‘Thomasine’. And that's how it started. After a few years, I decided to push my own brand and set up production.
One thing led to another. Do you believe in fate?
Oh yes. It's a lot of hard work of course, but if you have open eyes, things fall into your path. Don’t block things, just go for it.
Has growing up in Sweden influenced your artistry?
I come from the countryside in the South of Sweden, and I was learning hand-sewing from five years old with the old ladies on the farm. But becoming a designer was not something you could consider a ‘real job’. I think if I studied in Stockholm I would have been judged as a Swedish person from the countryside. Coming to the Netherlands I was able to get to know myself better without judgement, and able to define my own identity quicker because of that. Plus, the Dutch have a broader view on artists and it's more of an acclaimed job to become a designer.
Since starting in the glove industry, how has it progressed?
Well, for many decades, hats, bags and shoes became very important economical parts of companies, whereas gloves started to fade away. When I started in 2008, they really were a forgotten accessory, for a while there were no gloves in photo shoots or fashion shows. But 15 years later a lot has changed, you see them a lot more. Even if there’s just a plain glove within a photo, it's still there, making people familiar with a glove on the hands, which is always positive.
Oh yes. It's a lot of hard work of course, but if you have open eyes, things fall into your path. Don’t block things, just go for it.
Has growing up in Sweden influenced your artistry?
I come from the countryside in the South of Sweden, and I was learning hand-sewing from five years old with the old ladies on the farm. But becoming a designer was not something you could consider a ‘real job’. I think if I studied in Stockholm I would have been judged as a Swedish person from the countryside. Coming to the Netherlands I was able to get to know myself better without judgement, and able to define my own identity quicker because of that. Plus, the Dutch have a broader view on artists and it's more of an acclaimed job to become a designer.
Since starting in the glove industry, how has it progressed?
Well, for many decades, hats, bags and shoes became very important economical parts of companies, whereas gloves started to fade away. When I started in 2008, they really were a forgotten accessory, for a while there were no gloves in photo shoots or fashion shows. But 15 years later a lot has changed, you see them a lot more. Even if there’s just a plain glove within a photo, it's still there, making people familiar with a glove on the hands, which is always positive.
“I've always tried to make gloves for the new generation. To find a new way of seeing them as an art piece. Making people curious by using different materials so that it's not such a traditional, old-fashioned style.”
What motivates you in such a niche industry?
I've always tried to make gloves for the new generation. To find a new way of seeing them as an art piece. Making people curious by using different materials so that it's not such a traditional, old-fashioned style. I see my couture projects as my poems, they're telling a story. If I can do art pieces that make people stop and look, you know, think that gloves can be so much more… Even if in the end they buy the black one, that's OK because I made them think about it, and that has been my whole kind of purpose.
You’ve collaborated with many famous couture houses. But it started with Walter Van Beirendonck, how did that materialize?
I knew Walter and his influence on fashion, but had never personally met him. When I was in Paris he happened to come and sit next to me on the train. We were packed like sardines and he couldn't move, so I took my chance and said “Hello my name is Thomasine, I know you Walter.” I gave him my business card and one month later he contacted me.
Another moment of fate. How did you collaborate?
He had an idea of having gloves in his collection and asked if I could help to realize it. It was my first couture collaboration with him and he is an amazing designer to work with. Really organized, knows what he wants but also gives great credit to the one that he works with. And he’s always pushing the boundaries which makes it fun. After working with him I understood there’s a place for me doing couture in Paris and I can be the one realizing high-end pieces for my collaborators.
I've always tried to make gloves for the new generation. To find a new way of seeing them as an art piece. Making people curious by using different materials so that it's not such a traditional, old-fashioned style. I see my couture projects as my poems, they're telling a story. If I can do art pieces that make people stop and look, you know, think that gloves can be so much more… Even if in the end they buy the black one, that's OK because I made them think about it, and that has been my whole kind of purpose.
You’ve collaborated with many famous couture houses. But it started with Walter Van Beirendonck, how did that materialize?
I knew Walter and his influence on fashion, but had never personally met him. When I was in Paris he happened to come and sit next to me on the train. We were packed like sardines and he couldn't move, so I took my chance and said “Hello my name is Thomasine, I know you Walter.” I gave him my business card and one month later he contacted me.
Another moment of fate. How did you collaborate?
He had an idea of having gloves in his collection and asked if I could help to realize it. It was my first couture collaboration with him and he is an amazing designer to work with. Really organized, knows what he wants but also gives great credit to the one that he works with. And he’s always pushing the boundaries which makes it fun. After working with him I understood there’s a place for me doing couture in Paris and I can be the one realizing high-end pieces for my collaborators.
What was it like to work on your recent G-STAR collaboration?
I think the artistic collaborations G-STAR does and how they want to push them are fantastic. It's really nice to be a part of that story. I had the freedom to create something that was completely my own using their materials; three haute couture designs and one ready-to-wear unisex piece. I wanted to make something that stands out, so the ready-to-wear became more couture and the couture pieces became even more artistic.
And working with denim?
It's really a great material. For me, the importance with gloves is stretch because your hand changes shape. That’s the difficulty with the raw denim but then you include the stretch somewhere else. This is why I introduced the soft lambskin leather and zippers, they assist with the flexibility of the design.
I think the artistic collaborations G-STAR does and how they want to push them are fantastic. It's really nice to be a part of that story. I had the freedom to create something that was completely my own using their materials; three haute couture designs and one ready-to-wear unisex piece. I wanted to make something that stands out, so the ready-to-wear became more couture and the couture pieces became even more artistic.
And working with denim?
It's really a great material. For me, the importance with gloves is stretch because your hand changes shape. That’s the difficulty with the raw denim but then you include the stretch somewhere else. This is why I introduced the soft lambskin leather and zippers, they assist with the flexibility of the design.
“I’m not working with trends or a new collection every year. It’s about making those pieces you fall in love with and will use for the next ten years or pass it on to someone else.”
Your motto is ‘Gloves are like soft jewelry.’ What’s the meaning behind it?
That's really my beginning point, how I see a glove from the start. It's about the leather itself, as an exclusive material. It comes from an animal so you have to think about making something useful that will last a lifetime, without using it in a wasteful way. And making a timeless design that feels that like contemporary jewelry when you’re wearing it. I’m not working with trends or a new collection every year. It’s about making those pieces you fall in love with and will use for the next ten years or pass it on to someone else.
Finally, what’s the one thing you love about your job?
Freedom. I'm my own boss. I set my own rules. It can be really hard, but I choose the hours I work- which are most days and night- and who I work with. When I want to go somewhere, I go somewhere. When I close my shop, I close my shop. I also love being an entrepreneur and slowly building my business. It’s inspiring that the challenge today is to make a profitable company, on the side of being an artist. It's two very different sides but I have built the business alone. It’s the one lady show.
That's really my beginning point, how I see a glove from the start. It's about the leather itself, as an exclusive material. It comes from an animal so you have to think about making something useful that will last a lifetime, without using it in a wasteful way. And making a timeless design that feels that like contemporary jewelry when you’re wearing it. I’m not working with trends or a new collection every year. It’s about making those pieces you fall in love with and will use for the next ten years or pass it on to someone else.
Finally, what’s the one thing you love about your job?
Freedom. I'm my own boss. I set my own rules. It can be really hard, but I choose the hours I work- which are most days and night- and who I work with. When I want to go somewhere, I go somewhere. When I close my shop, I close my shop. I also love being an entrepreneur and slowly building my business. It’s inspiring that the challenge today is to make a profitable company, on the side of being an artist. It's two very different sides but I have built the business alone. It’s the one lady show.