Benjamin Elbel
  • Full white calf binding. Removal of the bath plug on the front board reveals the end of the title. This binding was a 'distinguished winner' in the Designer Bookbinders international competition in 2009.
  • by John Perrin
    London, 1793
    bound 2012


    Dos rapporté binding in decorated leathers. The words on the boards are hand-written excerpts from the book and list the cruelty made by animals to other animals, in contrast with the title ‘amusing fables’.
  • bound 2012


    Vellum binding with sewn hinges. I used the reverse side of a skin bought in Marrakech, for the ambivalence that lies in its pattern : its classical feel on the one hand, and on the other the fact that it was probably generated by dirt.
  • by William Shakespeare
    Ward Lock, 1880
    bound 2012


    Onion skin binding covered in decorated leather. The pattern on the spine results from the two-colour stub on which the single section is sewn.
 
  • Studied fine arts in France (Ecole des arts d√©coratifs, Strasbourg).
  • Specialized in bookbinding and book conservation in Switzerland (Centro del Bel Libro, Ascona).¬†
  • 5 years work experience in various binderies in Germany and England.
  • Setting-up own studio in London in 2012, Elbel Libro Bookbinding, currently in Amsterdam, Netherlands.
  • Undertakes work for private customers and institutions as well as developing his own fine bookbinding style.
  • Publishes bookbinding manuals of self-developed bookbinding techniques under the label bookbinding out of the box.
  • Elbel Libro accessories is devoted to the creation of unique and inventive products.
  • Benjamin is a very active bookbinding instructor and teaches workshops across Europe.
  • ‘To me, what justifies design bindings is their uniqueness. With a bit of practice even the most refined and complicated looking things (ex ‘leather binding with gold tooling’) can be mass produced. Design bindings are something different. They are an opportunity to question one’s practice and to try to push one’s boundaries further in order to achieve something that is truly unique. I spent a lot of time researching and developing alternative structures which I believe add personality to a binding (at least in the eyes of the connoisseur). At the moment I am more into exploring materials, for example, how can I alter leather to give it a different feel and look.’
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