Generation Z’s Growing Passion for Fine and Collectible Books
Among the many intriguing aspects of Generation Z, their newfound enthusiasm for fine and collectible books stands out as particularly noteworthy. Much like their rediscovery of vinyl records, film cameras, and even vintage technology such as DVDs and iPods, this younger generation is turning to the tactile pleasures of printed and bound paper. This shift is bringing new life to the world of books, creating a market filled with appreciative audiences.
One of the primary beneficiaries of this trend is The Folio Society, a publisher traditionally associated with serious editions of classic literature like Dickens and Trollope. Once viewed as a bastion for a somewhat antiquated, male bibliophile demographic, The Folio Society has witnessed a remarkable transformation. Today, more customers under the age of 25 are purchasing their books than those over 60. Recently, a limited edition of The Hobbit priced at £600 sold out in under 15 minutes, much to the astonishment of the publisher’s CEO, Joanna Reynolds. “I was stunned it was so quick,” she recalls, “I smiled broadly.”
Since taking the helm in 2016, Reynolds has rejuvenated the publisher, steering it away from the brink of collapse and into profitability. A key strategy in this recovery has been appealing to younger audiences, with stunning editions of contemporary classics such as Song of Achilles by Madeleine Miller and Howl’s Moving Castle by Diana Wynne Jones. These releases balance out the traditional offerings, which last year included a limited edition of The Complete Plays of William Shakespeare, priced at £1,000.
Given the overall decline in book sales reported in 2024—partly due to rising prices of hardcovers—the enthusiasm for these luxurious special editions among younger readers is particularly remarkable, especially as this demographic has been dubbed Generation Rent due to their struggles with housing and the cost of living.
However, many titles from The Folio Society are still accessible. For instance, 23-year-old film graduate Harvey Loftus boasts an illustrated edition of Selected Poems by Emily Dickinson, priced at £39.95. His collection also includes Folio Society editions of The Bell Jar by Sylvia Plath, The Last Man by Mary Shelley, illustrated with works by Caspar David Friedrich, and The Turn of the Screw by Henry James. Loftus shares, “I’ve been trying to get things that I know will be frequent rereads, so that I can trick myself into thinking I’m being economical.” He felt “crushed” when he couldn’t afford the £600 The Hobbit, a common frustration echoed among his peers. “When something we really like is released, we’re often annoyed because we know we can’t afford it,” he adds.
The appeal of these special editions is also amplified by social media, where countless accounts offer guidance on how to “curate” personal bookshelves to reflect individual style. Sophia Richardson, a 32-year-old lecturer and bibliophile, asserts that “curating a library is an important personality statement.” For her, special editions are not merely books—they are cherished objects, akin to furniture. “They are heavy, impractical for travel, and take up space,” she explains. “When you purchase for aesthetic reasons, it becomes a décor statement with far less investment than a real piece of furniture.”
Rebeka Russell, founder of Manderley Press, which specializes in reprinting classics in beautifully crafted editions, shares this sentiment. Named after the iconic house in Rebecca by Daphne Du Maurier, Manderley Press is known for its exquisite artwork and outstanding production quality. “While our books are not cheap, priced between £16.99 and £18.99, they are an investment in something that will endure,” she states. “You can build a collection that can be passed down to future generations, rather than something disposable.”
Books serve as fixtures that enhance personal spaces, Russell notes, highlighting the enduring allure of orange Penguin paperbacks, which are perfect for color-coding trends. “People love the idea of completing a finite collection, like all the travel and adventure series,” she adds.
For Shawnee Mead, a 34-year-old host of The Podcast Around the Corner: The Nora Ephron Podcast, special editions celebrate beloved reads. “If I fall in love with a book, I will seek out a special edition to add to my collection,” she says, explaining that her reading copies are often paperbacks, while special editions remain pristine on her shelf. Her collectibles range from embossed hardbacks to visually striking paperbacks, often found on eBay or in local bookstores. “I never judge a book by its cover when reading, but I absolutely do when collecting,” she confesses.
Oliver Darkshire, a former antiquarian bookseller and author of Once Upon a Tome: The Misadventures of a Rare Bookseller, is pleasantly surprised by the resurgence of interest in these editions among younger customers, who were once a rare breed in the antiquarian book market. “We constantly sought ways to attract new customers, as the typical demographic skewed older,” he reflects. The motivations of younger buyers now diverge significantly from their older counterparts. “They are captivated by the physicality of books, something tangible to hold,” he observes, contrasting this with a generation steeped in the digital landscape. “Having something beautiful in hand, something uniquely theirs, is incredibly appealing.”
Loftus echoes this sentiment, asserting, “I don’t feel like I truly own something until I can have it in my hands.” His passion for books, along with a fondness for other retro items like vinyl records, signifies a growing weariness with modern technology and the relentless cycle of consumption. “Many believe it’s just nostalgia, that it feels slower and more enjoyable,” he states. “But I genuinely appreciate the quality of these items. There’s a distinct sound to a record, and the experience of holding a special edition book is unparalleled.”
For Richardson, an appreciation for fine editions extends beyond aesthetics; it resonates with personal memories. “Books are often tied to specific places and experiences,” she shares, noting that many of her collection pieces were acquired during travels. “I always remember, ‘Oh, I got this one by York Minster, and this one at a street market in Heidelberg.’” Each book evokes vivid recollections, with their aesthetics deeply ingrained in her memory. “I can recall the cover, visualize illustrations, and remember where certain quotes are on the page,” she reflects. “When I buy a book, I know it will always remind me of its lovely cover and the feel of its beautifully crafted pages.”
