In conversation with Mathilda Brusewitz and Sanna Hall

Mathilda Brusewitz runs Brusewitz Communication, a Stockholm-based PR agency specializing in interior design, craftsmanship, and design. She is also the co-founder of Talk To, an interior design platform offering personalized digital consultations with experts to provide fresh ideas and perspectives for your home. We began our collaboration with Mathilda a few years ago, and since then, we have successfully completed numerous projects together. That’s why it’s especially exciting to showcase her beautiful home and share the story behind the selection and transformation of fabrics into stunning curtains and various accessories, in collaboration with one of our retailers, Spaces by Sanna.

Her home, located in Gamla Enskede, features many classic turn-of-the-century details, including generous ceiling heights, deep window niches, and a tiled stove. The spacious kitchen with its open floor plan contributes to an inviting and social atmosphere. Under Mathilda’s vision, the home has undergone a thoughtful renovation that prioritizes the house’s original character, location, and architecture from 1911. They began with the existing foundation, focusing heavily on updating material choices. In the kitchen, the framework was preserved, but the upper cabinets were removed to create a more open feel, and a kitchen island was added. Stone and tiles were replaced, the floors were darkened, and the walls and ceilings were painted in a warm white shade. The guiding principles for the interior were warmth, calm, and harmony.

For Mathilda, curtains were a crucial element of the interior design, which is why Spaces by Sanna was involved early in the project.

Sanna Hall, the owner of Spaces by Sanna, is one of our retailers specializing in window treatments. Her textile studio in Nacka offers custom-made interior and curtain design services for both private homes and offices. They create handmade, made-to-order curtains, lampshades, rugs, and accessories.

Before our conversation with Mathilda, we invited Sanna to join us and share more about the process and their collaboration.

Mathilda Brusewitz
Sanna Hall. Photo by Mikael Lundblad
The roman shade in Venere MM is visble to the right

In the kitchen, I envisioned a Roman shade with a soft, relaxed feel—something I had seen in international interiors but not often in Sweden. I chose the Venere Mano Morbida fabric to achieve this look.

A: How did you choose the fabrics you wanted?

MB: I had a clear vision of what I wanted to achieve with the fabrics. Pia at Astrid helped me select textiles that aligned with my vision. Then, I worked closely with Sanna at Spaces by Sanna to bring my ideas to life, which she did brilliantly. She understood exactly what I was aiming for, and the results exceeded my expectations.

Since the kitchen and living room share an open plan, I wanted different curtains to define them as distinct spaces. In the kitchen, I envisioned a Roman shade with a soft, relaxed feel—something I had seen in international interiors but not often in Sweden. I chose the Venere Mano Morbida fabric to achieve this look.

For the living room, I wanted handmade double wrought iron rods with a sheer fabric at the back and a coarser, textured fabric at the front to create a striking contrast. We used Venere Mano Morbida and Bergamo fabrics here.

Heavier curtains in Bergamo and sheers in Venere MM

In the bedroom, I selected the Ponza fabric for the headboard, which I believe adds a classic touch with its fine lustre and texture. To complement the headboard, we made a long silky cushion in the Nora fabric.

To ensure sufficient darkness, I chose curtains in Savona fabric lined with blackout fabric on rails, as they block out more light than curtains on traditional rods. In the children’s room, we opted for classic Roman blinds, also in Savona with blackout lining. In Bill’s room, we used the Chiara fabric to frame his sleeping alcove, creating a cozy, bunk-like atmosphere when the curtains are drawn.

SH: When Mathilda approached me for advice on her curtains, she had just purchased her home and was in the early stages of renovation and decoration. Being involved early in the process was a big advantage as it gave us ample time to brainstorm ideas about the style and feel Mathilda wanted to achieve. Mathilda had a clear vision, and I remember we exchanged images frequently until we found the perfect look! Using Astrid’s fabrics for all the curtains felt natural from my perspective as well. Having worked with these fabrics on numerous projects, I’m familiar with how they look in terms of design and stitching.

Headboard in Ponza and cushion and light bedspread in Nora
Curtains in Savona with blackout lining

A: What feeling did you want to achieve when choosing fabrics?

MB: My goal was to enhance and preserve the authentic feel of the home and its architecture. I aimed for a balance between something slightly rustic, yet elegant and classic. I wanted each room to feel soft and inviting.

A: Did you have a clear idea of how you wanted the curtains to be sewn and which rods you wanted?

MB: Yes, absolutely. I discussed it with Sanna, who was an excellent sounding board and completely understood my vision.

SH: Mathilda had a clear image, and through inspiration images and fabric samples, we were able to find the expression she was aiming for. The choice of textiles, curtain design, and rods all served the function Mathilda desired without compromising on aesthetics. For example, the living room curtains hang on custom-made double wrought iron rods with rings. The wall holders are designed so that the sheer curtains can be easily drawn when needed.

Double curtain rods and rings in wrought iron were used for one sheer and one heavier curtain

Choosing a specific fabric for a throw allows you to define a desired style—for example, a coarser linen for a rustic look or a fine wool fabric for elegance. It’s also an easy way to refresh the bedroom. Here, we used the Nora fabric, which, with its sheen and gentle yellow tone, adds a luxurious and slightly flamboyant touch.

A: We love that you used a fabric typically meant for curtains as a bedspread. Does it work well?

MB: I use it as a throw on top of the bedspread, so it doesn’t get a lot of wear. I love the colour and sheen of the fabric—it adds an exclusive feel.

SH: I’m also a fan of layering textiles, as is Mathilda. It was her idea to use a beautiful fabric as an additional layer on top of the bedspread, softening the look and introducing another texture and colour, which turned out great! Choosing a specific fabric for a throw allows you to define a desired style—for example, a coarser linen for a rustic look or a fine wool fabric for elegance. It’s also an easy way to refresh the bedroom. Here, we used the Nora fabric, which, with its sheen and gentle yellow tone, adds a luxurious and slightly flamboyant touch.

A: Are there any details you are particularly happy with?

MB: I’m particularly pleased with the Roman shade in the kitchen. It really is the finishing touch and sets the tone for the entire room.

SH: That curtain is one of my favourites as well! Venere MM was the perfect choice for it. It’s interesting how this design has become so popular, and it’s easy to see why. With the right fabric and thoughtful design, this style gives a soft, relaxed look while the fabric’s beautiful texture filters the light wonderfully!

A lighter bedspread in satin fabric Nora gives a nice yellow lustre to the bedroom.

With an expert like Sanna on hand, we took the opportunity to ask her a few more questions about window treatments.

A: When do you usually get involved in an interior design project for window treatments?

SH: I consider curtains an integral part of interior design, so I prefer to be involved early in a project whenever possible. However, I’m often brought in later when the client is already deep into the renovation. Often, the customer, like Mathilda, has purchased a new home and is about to begin renovations. But just as frequently, clients are in the midst of renovations or in the final stages. Being involved early is advantageous as it allows the customer to adjust colour choices, functions, fabric, and design, as well as plan for where alarms will be mounted or how built-in furniture should be designed to complement the curtains. Early involvement also allows us to work with inspiration images and fabric samples to help the customer find the perfect match. This way, we can order fabrics early, ensuring everything is ready for final measurements, sewing, delivery, and installation.

A: Is there a particular style you find most versatile?

SH: Tailor-made curtains sewn with pleats or multi-band headers are incredibly versatile because they allow for variation in the choice of hooks depending on the desired expression and style. These curtains can be used traditionally or even in front of doors or wardrobes. Curtains are generally versatile interior details since they can serve many purposes in a home. At Mathilda’s, for instance, we used classic curtains on rods in the living room, short curtains for the youngest son’s sleeping alcove to create a bunk-like feel, and curtains behind glass doors to conceal storage.

Chiara in the sleeping alcove to create a cozy bunk feeling
Venere MM hides storage in the cabinet

A good rule of thumb is to consider the room’s character, the window’s design, the function you want, and the chosen curtain style and accessories. To create a sense of height and space, it’s often best to hang curtains slightly above the window to draw the eye upward. Hanging them high and wide can visually enlarge the room.

A: Do you have any general guidelines for choosing the best curtain style for a specific space?

SH: The first rule is to start with the client’s needs, wishes, and the specific conditions of the space. Then, we consider the room’s character, how it is designed, and the desired function and style.

A: Can you share some tips for planning and measuring?

SH: If the client is measuring themselves, my tip is to measure at several points, especially if the curtains are meant to just graze the floor or if a Roman blind is being installed within a niche. However, it’s best to have a curtain designer or consultant take the measurements to ensure nothing is missed. Each room has unique conditions, and a curtain consultant is familiar with the potential pitfalls that a customer might not anticipate.

A: Do you have any advice on where and how high to hang curtains in relation to the window?

SH: A good rule of thumb is to consider the room’s character, the window’s design, the function you want, and the chosen curtain style and accessories. To create a sense of height and space, it’s often best to hang curtains slightly above the window to draw the eye upward. Hanging them high and wide can visually enlarge the room.

A: Do you usually recommend that the curtains touch the floor?

SH: If we’re using a heavy, natural fabric, I generally suggest that the curtains touch the floor, which adds a soft, inviting, and luxurious feel. However, a sheer Trevira like Lugano can be more effective if it grazes the floor for a simpler, cleaner look.

Bergamo breakes the floor for a soft elegance
Double curtain rods and rings in wrought iron were used for one sheer and one heavier curtain

A: What are your current favourites for window dressing?

SH: As a curtain designer, I appreciate all types of curtains and styles, but if I had to choose, I lean towards classic window treatments with abundant fabric and detailed work, such as fabric-covered cornices, handmade curtain rods, and special materials. For example, the furniture fabric Sander, with its raw character from linen and hemp threads, is a durable and environmentally friendly option since both hemp and linen require minimal irrigation. I also love the sheer Paolina, made from leftover wool fibres and linen. I’d like to see more sustainable and reused materials. I also appreciate mixing different qualities, as we did in Mathilda’s home. Combining a dense fabric like Bergamo with a sheer one like Venere creates a unique and personalized curtain design.

A: Is there a particular curtain and window dressing style that you’ve been particularly drawn to lately?

SH: The range of fabrics and curtains is expanding, and we’re seeing a return to window treatments reminiscent of the 80s and 90s, with lots of fabric and curtain rods. Today, we incorporate these influences into interiors with new fabric qualities, hanging curtains high and wide, unlike before. Curtain valances with matching lengths in sheer fabrics, colourful curtains, and classic wooden rods with rings are all making a comeback. Personal and unique window treatments, with a focus on details like passementerie, are very popular.

A: And is there a trend you don’t see lasting long?

SH: I prefer to work with classic curtain designs and quality fabrics to create timeless window treatments that are durable and not influenced by fleeting trends.