Embracing the Weight of History
As the owner of Mill House Antiques, I’ve lived a lifetime within the captivating world of antiques. Little did I know on that fateful April morning in 2008, when I shook hands with David and took over the business, that the impending economic downturn and a seismic shift in design tastes were just around the corner. But the journey from then to now has been nothing short of instructive.
What I’ve come to appreciate more than ever is that owning a true antique is akin to preserving a piece of someone’s past. It also presents a profound responsibility – for in a way, we who sell and own antiques are the custodians of history. As I’ve discovered, many of the young people who come through Mill House’s doors see antiques as irrelevant, devoid of any value beyond the monetary. However, there is so much more to these timeless treasures. There is a history to preserve, and knowing the story behind a particular piece only serves to enrich that responsibility.
The Enduring Allure of Antiques
“To own a true antique is to preserve a piece of someone’s past. It also presents a profound responsibility – for in a way, we who sell and own antiques are the custodians of history.”
Take, for instance, that Regency sideboard with its ebony inlays. Normally, such a piece would have been crafted with satinwood and olive wood, shaped into graceful fans and shells. But the impact of Lord Nelson’s death on the English public was so profound that cabinetmakers mourned his passing by incorporating the somber tones of ebony into their designs. This is the kind of rich history that elevates an antique from mere furniture to a tangible link to the past.
Having grown up with a deep passion for antiques and history, I’ve always had a profound appreciation for fine furniture and the decorative arts, and what they represent in a historical sense. It has been a lifelong learning experience that continues to this day, which is why I love this business – it’s one of continuous education. Each antique has a unique story to tell, providing a window into the lives and times of those who came before us.
The Generational Divide
Over the past year, I’ve had numerous conversations with leading interior designers and architects about where design is heading and the tastes, interests, and sophistication of their clients. What I found most intriguing is the universal feeling among these industry leaders that their younger clientele lacks an understanding or even an interest in being educated about antiques.
This is not to say that all their clients under the age of 50 are this way, but there seems to be a common enough thread for them to highlight this fact. The younger generation, it appears, has a fear of antiques. As interior designer Thomas Jayne put it, “Antiques have become intimidating objects.”
It’s not that this new generation of clients is truly uneducated. Rather, it seems they’ve had less exposure to antiques than preceding generations. As designer Timothy Corrigan noted, “So much of taste is about exposure. The more you learn about different things, the more you learn to appreciate them.”
The Millennial Mindset
Interestingly, this generation that appears to have turned its back on antiques is also the best-educated cohort in history. Millennials, generally considered those born between 1982 and 2004, have by far the highest number of college and postgraduate degrees of any generation to date.
Yet, their values and actions seem to be sometimes at odds. More than any other generation, Millennials have embraced environmental causes and are committed to mitigating global warming. But they are also, in a sense, the “disposable generation” – a group brought up on rapid technological change that continually renders most technology-based products obsolete, only to be discarded.
“The younger generation has a fear of antiques. As interior designer Thomas Jayne put it, ‘Antiques have become intimidating objects.'”
This mentality has undoubtedly shaped the way this generation approaches design and furnishings. Their approach is decidedly transitory, akin to their relationship with technology. Millennials purchase furniture with the notion that it’s cheap and disposable, much like a cell phone. As French architect and designer Robert Couturier bluntly states, “Millennials are not aware of the history or the culture of furniture, nor do they want to know. They don’t care.”
The Cyclical Nature of Design Trends
To understand this generational divide, it’s helpful to look back at the evolution of design trends. If you examine the post-war period, the rise of mid-century design makes perfect sense. It picked up where Art Deco had left off, due to the interruption of World War II. America was front and center on the world stage, and a pent-up demand for new and forward-looking design took hold.
The clean and simple lines of mid-century furniture were easy to manufacture on a large scale, and every department store had them. Designs by the likes of Eero Saarinen and Florence Knoll could be easily reproduced to satisfy the country’s thirst for a break from the past. America was cutting ties with Europe, and design was to be our own, representing this nation’s bright future.
Yet, as the decades passed, a sense of cynicism took hold, and we once again looked back to Europe. The 1980s brought us chintz and prints, the 1990s ushered in French country, and the early 21st century saw a revival of mid-century modern. We now find ourselves in a period often referred to as “modern” or “transitional,” characterized by a blending of traditional and contemporary styles.
The Art of the Mix
Speaking with designers and architects, it’s clear that there is debate about whether mid-century has reached the end of its current cycle. As is always the case, revivals are followed by new movements. In the late 1800s, for example, the Arts and Crafts movement emerged, followed by Art Nouveau, which served as a transitional period between the various revivals and the modernist styles taking hold in the early 20th century.
In many ways, the current “transitional-modern” style in interior design is akin to the Art Nouveau period – a mixing of the old and the new. And according to these industry leaders, the next trend appears to be a move towards “clutter-free” spaces, with clean lines in furniture and a desire for uncluttered rooms.
“The younger generation purchases furniture with the notion that it’s cheap and disposable, much like a cell phone. As French architect and designer Robert Couturier bluntly states, ‘Millennials are not aware of the history or the culture of furniture, nor do they want to know. They don’t care.'”
But the mixing of antiques and modern pieces is nothing new, especially in the world of Italian design. For decades, Italian architects and interior designers have been deftly blending the ancient with the contemporary, creating seamless interiors that demonstrate a harmonious coexistence of antiques and sleek, modern furniture.
As designer Brian McCarthy observes, some of his clients are turning to artists to design their current furniture, producing unique, one-of-a-kind pieces. Fellow designer Alex Papachristidis sees the future being about custom-made, artisanal furniture – a marriage of the old and new.
The Value of Antiques in a Modern World
Antiques, in many ways, are akin to fine, custom-designed furniture. They are not mass-produced like the pieces of the mid-century era. Quite the contrary, antiques are one-of-a-kind, handmade treasures, crafted without the aid of computers or modern machinery. Each piece has a unique story to tell, a window into the lives and times of those who came before us.
“Antiques are one-of-a-kind, handmade treasures, crafted without the aid of computers or modern machinery. Each piece has a unique story to tell, a window into the lives and times of those who came before us.”
And therein lies the beauty of antiques – they add depth, texture, and a sense of history to today’s modern, clean environments. In a world where the top 10 most popular colors are 10 shades of white, the warm tones and natural materials of antique furniture have a place. As designer Jeffrey Bilhuber aptly put it, “Today when you mix a signature piece with a modern piece, there is a conversation going on. A signature piece can anchor a room and surround it with sensitivity.”
But for this new, Millennial generation that seems indifferent to antiques, how will they come to appreciate these timeless treasures? Designer Juan Montoya laments the prevalence of mass production in the marketplace and the lack of appreciation for the superior craftsmanship of antiques. Interior designer Linda Ruderman muses that many of her younger clients “don’t want anything that looks like their parents’ house,” so antiques are not an option.
Bridging the Gap
Yet, despite this generational divide, these top designers and architects see the pendulum swinging back towards antiques. Not a full-fledged return to the design trends of the past, but rather a healthy inclusion of antiques among modern-focused designs.
As the owner of an unfinished furniture company, I’ve witnessed this firsthand. Not long ago, we participated in the Architectural Digest Design Show, using one of our custom Queen Anne-style bureau bookcases to illustrate how well antiques and their newer counterparts mix with the bold textiles and clean designs of today’s marketplace.
The key, it seems, is to approach antiques with a sense of passion and a desire to learn. As I often tell my clients, they must love an antique first and need it second. Part of that love is understanding the story behind it – the woods and techniques used, the oddities that give it character. It’s about recognizing the intricate craftsmanship and the unique history that each piece embodies.
“The key is to approach antiques with a sense of passion and a desire to learn. As I often tell my clients, they must love an antique first and need it second. Part of that love is understanding the story behind it – the woods and techniques used, the oddities that give it character.”
For those willing to invest the time and effort, the rewards are immense. Antiques can add intellectual stimulation, increased knowledge, and a sense of timelessness to any interior. But it takes seasoned design professionals to help bridge the gaps in knowledge and encourage that burgeoning passion for the past.
After all, we who sell and own antiques are the custodians of history. It’s our responsibility to preserve the stories and the craftsmanship of the past, so that they may continue to enrich and inspire generations to come. The future of design may be ever-changing, but the enduring value of antiques remains steadfast.
