A BIRTHDAY GIFT FOR AGES: THE COMPLETE NOVELS BY JANE AUSTEN BY THE FOLIO SOCIETY

The Complete Novels by Jane Austen, The Folio Society

 A collector’s dream for Austen devotees 

Jane Austen’s novels have enchanted readers for more than two centuries, and in 2025 her 250th anniversary is being marked with something truly extraordinary. The Folio Society has created a six-volume limited edition box set of The Complete Novels—a landmark in bookmaking, with only 750 copies available worldwide.

To celebrate this remarkable release, I had the chance to speak with the creative team behind the edition—James Rose (Head of Editorial), Kate Grimwade (Production Director), illustrator Sarah Young, and box designer Emily Benton. In this special Q&A, they share insights into the artistry, craft, and inspiration that went into bringing Austen’s timeless works to life in such a beautiful form. 

James Rose: Shaping Austen’s Legacy,  An Editorial Vision

James Rose is Head of Editorial and has been at Folio for over a decade. He has worked on both fiction and non-fiction titles and now heads the limited editions program. He previously worked at Macmillan and Faber and Faber and is committed to independent publishing and creating beautiful books.

Why was this year, Austen’s 250th anniversary, the perfect moment to create such an ambitious limited edition?

Folio has published Austen before, and we already had core editions in our backlist, but I had long wanted to make a really celebratory edition. The anniversary was, of course, the perfect excuse to honour Austen as one of the greatest writers of the English language. Her works are timeless, so we had to create an edition that would remain equally enduring.

How did you decide on the contributor line-up—Lucy Worsley, Elena Ferrante, Val McDermid, Siri Hustvedt, and others?

Many of the introductions were specific to each title, so I felt we needed one overarching piece that would bring all six novels together and cover Austen’s whole oeuvre. As such, I turned to historian Lucy Worsley, whose work championing Austen is rightly famed and who has delivered a wonderful Foreword that looks at the life and legacy of Austen. It really does pull the whole package together.

Did you consult or reference first-edition texts or archival materials while preparing these volumes?

Yes. When we started on the project, the initial book team went to the British Library to look at the original first editions of all six novels. It was a great treat not only to see the books but also to handle them, feel them, and examine them. We took detailed notes on their construction and layout, even the feel of the paper used.

What do you hope long-time Austen fans—and perhaps new readers—will experience when they encounter this edition?

I very much hope that whoever encounters this edition finds it both reassuringly Austen but also contemporary. Sarah’s art brilliantly complements the text—restrained, witty and beautiful. It truly is an edition to be cherished.

Kate Grimwade -  Crafting Perfection: The Art of Bookmaking

 Kate Grimwade is Production Director and has worked at Folio for over 26 years. Kate sees her role as setting the standard and striving for excellence in modern fine book production, working with designers and bookbinders to push the boundaries, using innovative design and cutting-edge production technology. Kate is passionate about embracing traditional craft bookbinding techniques and Folio’s responsibility in supporting these artisan skills.

This set combines traditional craft with extraordinary luxury—from gilded edges to woven silk. Which aspect of the design or production process did you find most exciting to work on?

Watching Sarah Young’s artwork emerge from the initial sketches she showed us was really fascinating. Working with wood or lino to create such delicate artwork is a sort of miracle to me—it is such an extraordinary skill—and Sarah has achieved something magical with her art. Equal to this was the excitement of seeing Sarah’s beautiful watercolour cover design as it was transported to woven silk and cotton – from a delicate design on paper, through an industrial process resulting into the most beautiful cloth.  You can’t get more exciting than that!

Could you share more about the collaboration with Stephen Walters?

Folio has worked with Stephen Walters before and it is an extraordinary business, taking a pride in their weaving that equals the pride Folio takes in its book production. I worked closely with Beth Humes who was of enormous help to us in the selection of silks. It was important to us that the choice of silk colour reflected each individual novel but of course all those silks needed to harmonise as a set. Our discussions led us to choose cotton and silk as opposed to linen and silk as we felt cotton was truer to Jane Austen, to what she would have worn. We went through several trials to perfect the balance of colours across each volume.

What was the most complex or satisfying detail to bring to life—whether technical (like gilding) or artistic (like the custom monogram)?

The gilding of the books is beautiful, but it is also subtle and “quiet.” It would have been wrong to choose a shiny gold. It was so interesting to commission a monogram to be woven into the cloth, a first for Folio. We were reluctant to interfere with the weaving pattern by blocking the title onto the book spine and so the monogram worked so well, subtly naming each novel. Smith Settle worked so carefully to cut and line the cloth and then make each cover. It took huge skill to ensure that all the monograms lined up on the spine.

Folio editions are often designed to last generations. What materials or processes make this set especially enduring?

Folio is proud to be able to say that all our books are printed on acid-free paper and are sewn, a luxury that is standard to Folio and ensures that the text paper remains beautiful and that the book opens flat and retains its shape and structure. In addition to the cloth covers and the hand-binding—both of which guarantee each novel is of the highest quality—the novels are presented in an elegant box, which is covered in cloth screen-printed in gold, ensuring the novels are presented beautifully but also protected.

What was your personal reaction when you first saw the final boxed set completed?

I was thrilled! With every project we work on, but particularly with a project of this size and complexity, there are many stages along the way where you have a glimpse of what is to come, but to see the project come to fruition has been so rewarding. I am so grateful to all those craftspeople who have worked with us to produce this magnificent set.

The Complete Novels by Jane Austen, The Folio Society

 

Sarah Young  - Folklore Meets Austen: An Artist’s Perspective

Sarah Young is a painter, printmaker, and illustrator. She is also the maker and originator, with Jon Tutton, of a traveling puppet theater. Her work is often narrative, drawing on folktales, myths, and fairytales, and has been shown in galleries throughout the UK, from the Shetland Islands to Cornwall. As an illustrator, she has most recently worked on book covers for Stephen Fry’s Mythos series, Pat Barker’s Trojan War novels, and The Complete Works of Shakespeare for Oxford University Press. Tutton and Young organize contemporary art and craft events, including Made London and the Brighton Art Fair, and run Atelier Beside the Sea—an art gallery, shop, and creative teaching space in Brighton.

 Your illustrations have a folkloric quality. How did you merge this style with Austen’s refined social world?

I think that’s a lovely compliment, and a lot of my work is directly about or is influenced by folklore, legend, and myth. Although I work in many ways, I was asked to do the illustrations for Jane Austen’s novels as woodcuts and linocuts. I think that those methods might have become shorthand for a folkloric quality. If they do come across that way, hopefully it’s an interesting combination.

Which novel or character inspired your favourite illustration in this collection, and why?

I’m afraid I don’t have a favourite illustration, but looking back at them now, I like: Lucy and Elinor looking at the locket in Sense and Sensibility; Edmund and Mary Crawford on horseback in Mansfield Park; and the Box Hill picnic scene in Emma. There must be something about the composition that draws me to these illustrations. Or nostalgic reasons—Box Hill walks?

Illustrations © Sarah Young 2025, from The Complete Novels by Jane Austen, The Folio Society - Sense and Sensibility, Mansfield Park, Emma

 Can you share your process?

As the illustration must be approved before I make the print, there’s no room for happenstance as I cut. A detailed rough is reversed onto the wood or lino. Both are relief printmaking techniques, so I take away wood or lino in various ways—mostly knives and gouges, but also anything that can make an impression—and those areas won’t print. What remains prints. Ink is mixed and then the blocks are inked up with a roller. Paper is placed on top, then blankets. Then, they are then run through my big manual etching press.

What do you hope readers notice or feel when they see your artwork alongside Austen’s words?

I didn’t want the illustrations to be either too explanatory or just decorative. I didn’t want them to be too distracting either, but I would like them to be enjoyed!

Emily Benton (Box Designer) Designing a Home for Austen’s Novels

Emily Benton is an award-winning book designer based in Edinburgh, recognized for her tactile, minimalist approach to publication design, typesetting and print production. She holds an MA in Book Design from Reading University’s internationally acclaimed Typography department and has developed her expertise through projects for leading cultural and publishing organizations. Her client portfolio includes Chanel, Boots, Edinburgh University Press, Macmillan Cancer Research, MIT, Saatchi Gallery and The Folio Society. Emily’s work has been honored by the New York Times Best Art Books and by the British Book Design & Production Awards. Alongside her studio practice, she lectures at Edinburgh Napier University.

 The box design is almost a work of art itself. What was your starting point for envisioning a case that would honour all six novels?

 My starting point was Sarah Young's beautiful illustrations that appear throughout the book covers and interiors. I wanted to create a design that would celebrate her artwork while establishing a visual dialogue between the box and the books themselves. The challenge was translating the intricate detail of Sarah's illustrations into something that would work to transfer onto cloth, so I focused on capturing the essential shapes and forms that would create a cohesive, repeating pattern across the lid.

Are there hidden details or visual Easter eggs in the box design that Austen fans might enjoy discovering?

The oval shapes that frame each book's title initials are subtly echoed in the box design, creating a quiet conversation between container and contents that becomes satisfying once you've notice it. There's also a lovely detail in how the gold on the box complements the gold edge-painting that adorns each book's head edge. I hope it's these kinds of connections that reward closer inspection by Austen enthusiasts.

What was your approach to balancing beauty, durability, and function in a case that must hold six heavy volumes?

Function drove several key decisions. The completely removable lid, rather than a hinged design, provides structural integrity for the six volumes while allowing the books to be accessed without strain on the construction. For materials, we chose a sage green linen cloth of exceptional quality, with the specific shade drawn from the Mansfield Park cover cloth. This material is both beautiful and built to last, and the tranquil colour complements the gold beautifully. The diagonal base/lid construction ensures the spine designs are displayed to their fullest once the top is lifted away.

When you look at the finished set, what detail makes you proudest?

I'm proudest of that moment of discovery when someone lifts the lid. The transition from the rich, celebratory pattern on top to the serene simplicity of the base, featuring only “Jane Austen”, creates a perfect stage for the books themselves. It shows restraint; knowing when to step back and let Sarah Young's spine illustrations be the stars. The quieter base design gives your eye a proper chance to focus on those beautiful covers in their fullest, most detailed form.

Hearing directly from the people who shaped this edition shows just how much care, vision, and passion went into honoring Jane Austen’s legacy. For devoted Janeites and collectors alike, this Folio Society set is not only a treasure for today but also an heirloom for generations to come.

👉 The Complete Novels by Jane Austen will be available from The Folio Society on September 9, 2025—a date I won’t forget, as it also happens to be my birthday!

More details and ordering information: www.foliosociety.com