In an era when screens dominate our reading lives, Maria Ruzaikina stands as a quiet but powerful reminder of the book as a physical treasure.
A second-generation artisan trained under her father, master bookbinder Alexander Ruzaikin, Maria has built her reputation in London as one of the foremost keepers of the fine bookbinding tradition.
Her work in leather bindings, hand gold finishing and meticulous restoration is more than craft. It is cultural stewardship – a way of ensuring that books remain not just read, but revered. To go deeper into her world, I asked Maria to share her story, her philosophy of craft and her thoughts on the future of bookbinding. Here’s what she had to say.
Amitesh: Maria, you grew up in Russia in your father’s workshop, surrounded by leather, gold leaf and old tools. What do you remember most from those early days of learning the craft?
Maria: The delicate combination of scents — old pages, leather and glue — has been indelibly linked with my childhood. My memories of those days are warm ones. I was taught always to place quality above convenience, and never to let a piece of work leave my hands unless it was the very best I could make.
Amitesh: Many people think of bookbinding as “repair work.” For you, what separates fine binding from restoration and why does the distinction matter?
Maria: Fine binding entails creating or remaking a book, whereas restoration is concerned with preserving and repairing. Some practitioners undertake both, though each demands a distinct set of skills and a particular approach.
“I was taught always to place quality above convenience, and never to let a piece of work leave my hands unless it was the very best I could make.”
Maria Ruzaikina
Amitesh: You work with rare books that often carry enormous historical and emotional weight. How do you decide how much to intervene and how much to leave untouched?
Maria: The more of the original that can be preserved, the better. I only decide to rebind a book when it is impossible to retain the original, when the binding has been poorly executed using unsuitable materials that could endanger the book’s preservation, or when the design is so inappropriate for the book that its owner feels genuine distress at looking at it.
Amitesh: Materials are the heart of your work. You work with leather, paper, gold leaf. Could you walk us through how you choose them and why those choices can make or break a binding?
Maria: The main principle is to use only the most authentic, acid-free materials, so as not to have a destructive effect on the book’s pages. The rule that more expensive is generally better is broadly true, but does not always apply. I try to select marbled paper and leather personally, as ordering online can lead to disappointment, particularly regarding colour tones and any defects in the materials.
Unfortunately, the global leather industry is facing a crisis.
This is a consequence of animals being fed a diet designed to promote rapid growth, which hinders the skin from developing naturally and fully. In addition, the increased cost of production has led manufacturers to cut corners on quality.
First-grade leather is now scarcely produced. This issue is also discussed by those in related trades, such as bespoke shoemakers. I hunt for high-quality vintage leather, purchasing it when possible from retired colleagues.
However, there is no shortage of gold. Today there is a vast selection from a variety of countries. I am particularly fond of Russian gold; it is truly remarkable. In Russia, gold leaves are still hammered by hand. In Europe, this technique is regarded as an endangered craft, practiced by only a few—for example, Mario Berta Battiloro of Venice.
Amitesh: For a book collector, a fine binding is often a statement piece. In your experience, what do collectors value most: the authenticity, the longevity or the sheer beauty?
Maria: I’m afraid my answer might sound a little plain, but to a true book lover, all three are essential.
Amitesh: Bookbinding traditions in London or Paris have deep roots. From your experience, how does the art of binding differ across countries – and do you often look to other cultures for influences?
Maria: Indeed, traditions in each country are deeply rooted. In London and Paris, the local schools, which maintain clear lines of transmission, are fairly conservative and reluctant to embrace anything new. In the UK, if you are seen using a saw to cut grooves in book signatures for sewing the text block, you can expect at least a raised eyebrow. On the Continent, particularly in France, sawing the block is a centuries-old practice and is still widely employed.
Each country has its own methods of weaving endbands, and the equipment also varies. Finishing stoves differ from one country to another.
I try to follow the principle of using the binding method of the country where the book was printed. In a sense, I take its origin into account.
Worth mentioning — living in the UK, I don’t use a saw.
Amitesh: Around the world, bookbinding is spoken of as a dying art. Can this craft still stand on its own as a profession and business or is it kept alive today only by passion and a stubborn love for heritage?
Maria: I would argue that in recent years there has been tremendous interest in traditional bookbinding. Thanks to the internet, new binders are emerging in different corners of the world. Today, bookbinding is a trending hobby, and for many, a means of earning a decent living.
Thanks to the internet, new binders are emerging in different corners of the world. Today, bookbinding is a trending hobby, and for many, a means of earning a decent living.
Maria Ruzaikina
Amitesh: Finally, for young readers or novices who’ve never thought about what holds their book together, what should they look for the next time they pick up a leather-bound or antique volume?
Maria: It is worth examining the spine and inner doublures carefully, in the hope of finding the signature of the binder who executed the work. Signed bindings are highly prized, and there are collectors who focus solely on them. Next, why not try to determine which animal’s leather was used for the binding? If you intend to purchase a book, it would be wise to pay attention to the strength of the leather joints, so as not to pay big money later for repairs.
In general, to begin understanding the subject, one must study the nature of the materials from which bindings are made and learn to distinguish artificial from natural.
I recommend that anyone taking an interest in this field visit antiquarian bookshops, flea markets, and library special collections, and handle the books.
Simply viewing bindings on a screen deprives one of the opportunity to experience them in 5D. Opening them, feeling the leather, and observing how the gold on the edges catches the light increases the risk of becoming an avid bibliophile—but fortunately, it is not a fatal disease.
Thank you, Maria, for taking the time to share your journey and insights. Your dedication to the craft reminds us why books are and will always remain more than just objects on a shelf.
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