Dear readers,
The editorial staff and I are thrilled to welcome Mitch Owens as the seventh editor in chief of The Magazine ANTIQUES. Mitch brings an extensive record of experience as editor, journalist, and scholar in the history of art and design. With previous positions at prestigious magazines including the World of Interiors, Architectural Digest, and Elle Decor, he will bring a fresh perspective and impeccable eye to our venerable publication. Mitch and I sat down together to discuss his vision for the magazine, his inspirations, and what we can look forward to under his editorial leadership. Let this serve as an introduction to the man whose own words will follow on this page beginning with the September/October issue.
Don Sparacin: Mitch, since the first time we spoke, you have shown an extraordinary level of reverence for this publication, and great enthusiasm about being part of it. What are you most excited about in taking on the responsibility of the editorial program?
Mitch Owens: Exploring the possibilities of the word “antiques” within a magazine that has dedicated itself to that field since 1922. Antiques are all about stories, the good, the bad, and the ugly, and I want the magazine to dive deep and swim widely, the goal being to assemble exciting, even surprising, narratives about everything from craftspeople to collectors to materials and beyond. Readers should wonder what we’re going to cover next.
DS: I’ll be wondering too. You’ve been a reader of ANTIQUES for a long time and have seen at least two changes in editorial leadership. What are some of the goals you have for your first year at the helm? Are there any themes or issues you are particularly excited to explore?
MO: Right now, I’m working on the lineup for our September/October issue, with the longtime and beloved theme of “Living with Antiques,” and I am also pondering November/December and 2025 issues. Foremost on my mind is what does the word “living” actually mean? So I’m exploring ideas that stretch that issue’s titular envelope, in ways that are respectful yet provocative.
DS: It sounds like a juicy twist is in store. Many of our readers have been subscribers for several decades. How do you plan to balance the traditional scope of TMA while also building content relevant to a new, wider, and younger audience?
MO: As a passionate traditionalist since the 1980s, when I became captivated by English country houses, I think there’s a lot of room to explore new territory and overlooked genres and makers. All of ANTIQUES’ readers, no matter their generation, no matter the genres about which they are passionate, should want authoritative stories, but also stories that entertain. That’s my mission, to do both, and for every reader’s reaction to be, “I didn’t know that.”
DS: What about digital? Over the past ten years, we have made great strides in developing a strong digital platform that, in addition to our website, has included a highly successful podcast, YouTube video series, eNewsletters, and social media accounts. How do you envision building on this work to offer an even more robust editorial slate, integrating digital content with the print magazine and vice versa?
MO: ANTIQUES’ stories have to live across all our platforms, so I’m gratified to have access to the magazine’s robust digital foundation and to have the opportunity to think of ways to make it even stronger and more vital. Lengthy and insightful articles have always been the heart of the magazine, but there are aspects and insights in each article that can find homes in ANTIQUES’ digital world, where they can become new stories, different stories, where we can investigate another aspect or take an intriguing detour. I want the subjects we cover to reach as many eyes as possible. Hello, TikTok—and we might be developing a new podcast or two.
DS: I’ve always referred to ANTIQUES as a pillar supporting the market for fine and decorative arts. What role do you see the magazine playing in the communities of antiques, fine art, and interior design?
MO: Since 1922, ANTIQUES has been America’s preeminent guide to the objects, art, antiques, and architecture of the past, all the elements that make up a home, then and now. Antiques, fine art, and interior design have always intersected, and the professionals in those fields understand that; they are the building blocks of how we live.
DS: Is there one special antique or riveting story related to antiques that you’d like to share?
MO: Presently, I’m beyond fascinated by George Shaw, a mid-nineteenth-century British church architect who did a brief though brisk business selling brilliantly convincing fake Jacobean furniture, some examples of which ended up in august collections. Today, believe it or not, the talented Mr. Shaw has many admirers. He was that good—and, despite his deceit, I respect that.
