Looking Back to Look Forward: A Conversation with Tiffany Jow

Tiffany Jow is the editor-in-chief of Untapped, an independent design publication that is quickly becoming an important voice in contemporary design media. Guided by Jow’s thoughtful and understated editorial vision, Untapped examines how architecture and design shape everyday life, asking what knowledge from the past can help us build and live more thoughtfully today.
I spoke with Tiffany about her path into publishing, the craft of independent editing, and why she believes this is a hopeful moment for anyone interested in writing about design.
Tomas Altobello: Could you tell me about your path into publishing and what first drew you to editing and design journalism?

Tiffany Jow: I moved to New York from Seattle in 2006 for what I thought was my dream job, an unpaid internship at Nylon magazine. I quickly realized it wasn’t for me. Six months later, I became an editorial assistant at Surface, a design publication, and that changed everything. It was the first time I really encountered architecture and design and how they touch every part of our lives. I wrote about fashion, culture, art, even science, from a design perspective, and I found that lens fascinating. Since then, I’ve always worked around design, whether in media, institutions, or architecture firms.

TA: How did that experience lead you to create Untapped?

TJ: I was approached by the design company Henrybuilt in 2023 to start a design publication and invited to take the lead. I agreed to do it only if it could operate independently, no products, no promotion, full editorial freedom. What connects Untapped to Henrybuilt is a shared way of thinking: they never design something entirely new, but continually iterate on existing ideas. That became Untapped’s foundation, looking back to look forward. Each story tries to rediscover knowledge from the near past to improve how we live and build today

TA: You’ve said the publishing landscape has shifted a lot in recent years. How has that shaped your approach?
TJ: Around the late 2010s, a lot of publications were realizing that ads and subscriptions alone couldn’t sustain them. That changed what got published and often made it hard for editors to follow their curiosity or take risks. I wanted Untapped to bring some of that freedom back, to make space for stories that feel personal, reflective, and honest. I also don’t come from an architecture background, I studied journalism and art history, so I’m drawn to how design shapes lived experience rather than theory alone. How a desk, a room, or a layout changes the way we move, think, and feel. Architecture can sometimes feel closed off, but design touches everyone’s life. Untapped tries to meet people where they are, to show how architecture and design matter on a human level.

TA: The independence and clarity of Untapped really stand out in today’s design media landscape. How do you think about curating each issue and working with writers?

TJ: We used to have themed issues, questions like Are things moving fast enough?, but they became limiting. Now we let each contributor approach that central question in their own way: what do we already know that could make the built environment better? Many of our writers aren’t professional critics. Some are designers, artists, or people outside architecture who understand the spirit of the journal. For example, designer Jonathan Nesci wrote a beautiful essay about how domestic objects should not take energy away from us but quietly support life, so we can focus on what really matters. Another writer, a photographer, visited a Louis Kahn house for the first time and reflected on what it revealed about how we live and how homes endure. I love that kind of perspective, personal, emotional, yet precise.

TA: The format of the publication is also quite striking. How did it come about?
TJ: That’s all thanks to our designer, Yeliz Secerli. We met years ago at Surface, and she’s now worked with museums and galleries, so she really understands books and exhibitions. Every detail carries meaning: the table of contents on the back, so you literally “look back to look forward”; the fold-out images that make readers slow down; and the minimal visuals that keep the focus on writing. The design reinforces our values, it invites you to read with care.

TA: Many of our readers are students thinking about careers in writing or editing. What advice would you give them?
TJ: When I speak at schools, I often ask who wants to work for a publication, and maybe one person raises their hand. Everyone thinks it’s impossible. But I think it’s actually a moment of opportunity. The old models may be fading, but that opens space for new ones. Independent publishing can fill that void. If you want to write about architecture or design, do it. Don’t wait for permission. Be creative, carve your own path, and people will notice. I think editors today are less competitive and more collaborative, we all want this kind of work to thrive. So start wherever you are. It might not look traditional, but it’s deeply needed now more than ever.