IN A PHOTOBOOK landscape increasingly saturated with mass-produced aesthetics and standardised formats, Origini Edizioni stands apart as a fiercely independent and poetic force. Founded nearly a decade ago in Livorno, Italy, by artists Valentino Barachini and Matilde Laricchia, the publishing house has, since its inception, been dedicated to crafting hand-made artist photobooks that are as much tactile artefacts as they are vessels of visual narrative.
With every book, Origini Edizioni redefines the boundaries between photography, literature, and objecthood. Their approach rejects mass production in favour of artisanal craft: books are bound, assembled, and finished entirely by hand—often using reclaimed or unconventional materials that speak to the philosophical undercurrents of each project. This is not simply aesthetic—it’s existential. The physicality of each book is inseparable from its narrative, offering readers a multilayered encounter with the artist’s work.
The Origini catalogue is home to some of the most emotionally resonant and formally inventive titles in contemporary photobook publishing. Among them is Forecast by Ilias Georgiadis, an intensely introspective and visceral journey. These Earthly Shores by Daphne Kotsiani, featuring poetry by Dimitris Leontzakos, weaves photography and language into an open-ended meditation on memory and place. Julien Coquentin’s L’Aval, Claudine Doury’s Solstice, and Bernard Guillot’s La Cité des Morts push narrative form through distinctive visual storytelling and tactile design. Notably, the 2023 release Phenomena by Australian photographer Morganna Magee stands out as a powerful addition—merging ecological vision with personal reverie in a book that is both fragile and fearless.
At the heart of Origini is a small, passionate team: Georgiadis as Creative Director, Laricchia continuing her foundational vision, and Eugenia Koval, who oversees the handmaking process with exquisite care. Together, they shape each book as a collaborative act—an object born from conversation, instinct, and trust.
In the conversation that follows, Ilias Georgiadis opens a rare window into Origini’s inner workings: their evolving philosophy, their methods, and their belief in the photobook as an enduring form of artistic and human expression.
“We create and craft artist photobooks. We care the most about poetic expression in all forms—narrative and tactility.” – Ilias Georgiadis
M-ARTLENS: Can you tell us about how Origini Edizioni was founded and the core vision behind its unique approach to photobooks?
ILIAS GEORGIADIS: Origini first was founded (almost ten years ago) by Livorno-based artists Valentino Barachini and Matilde Laricchia with the vision of creating photobooks that transcend traditional formats, blending photography with the handmade capacity on the photobook structure. They were already having a beautiful catalogue and that time I was collaborating with them as an artist, for my own books. Then, two years ago, after the publication of my book “Forecast” in which we collaborated, Matilde asked me if I would be interested in becoming Origini’s new creative director. I accepted. And here we are now. We continue Origini’s fundamental voice and direction, while adding new perspectives.
Our goal is to widen our network of retailers and our audience, to bring more people closer to what we do and what we stand for, while focusing more in the international spectrum of exchange and engagement. On each title, we try to become better and better, to reach new goals and standards, to highlight the morphology of today’s photographic narratives that shape the contemporary poetic discourse. We respect the artists that trust us with their most valuable token, their work. Our aim is to craft objects that are not just books but tactile experiences, reflecting deep introspection and artistic expression.
M: How would you describe the vision or philosophy behind the publishing house?
IG: To put it simple. We create and craft artist photo-books. We care the most about poetic expression in all forms, narrative and tactility.
M: Origini Edizioni’s books are often described as objects of art. What role does physicality and materiality play in your work?
IG: Physicality is paramount. We believe that the handmade nature of a book enhances the reading experience in connection to its content. By employing hand-crafted techniques (sometimes we even invent new binding and crafting methods exclusively for some titles) – Eugenia Koval is our handmade manager -, each title (and eventually each copy of each title) becomes a singular piece.
M: How do you choose the projects or artists you publish? Is there something in particular you look for?
IG: We seek artists whose work resonates with our understanding of photographic logos. Great work, vision and a commitment to pushing the boundaries of photography are qualities we highly value. But it is not only about this or that, there is no criteria-checklist nor formula. You always have to be open and ready to be surprised. We don’t know everything and we don’t pretend that we do. We are imperfect human beings that most of the time have their own taste and subjectivity. At the end its always subjective.
M: Many of your books combine photography and poetry in unique ways. Why is this interplay important to you?
IG: Both Matilde and I have a background in literature so maybe that plays some part. But also, it’s always so rarely beautiful when you blend successfully an ambiguous interplay, by layering the photographic narrative and the linguistic trajectory of poetry. The fusion of those two always enriches the structure and context of one-another. They always travel in parallel, but they never cross. One would always potentially speak about the other, but you are never sure if it actually does. This is what we tried to in our latest title “These Earthly Shores” by Daphne Kotsiani, incorporating poems from one of Greece’s most beautiful poets, Dimitris Leontzakos.
M: Your books are hand-crafted with great attention to detail. Could you walk us through your creative and production process?
IG: Our process begins with the actual work itself, naked. it is all about the pictures first and foremost. Then, its important in our new creative direction to have an important layer of contextualization, and this has to be done without the usage of linear words, since we almost never put essays, reviews, or concept texts in our books. So, it is important that together with the work, its context has to be fairly transmitted by the gestures incorporated in the edit, sequencing, layout and craft. Again, in this new direction, working closely and respectively with the artist is essential. After the final dummy is created, Matilde and Eugenia collaborate closely to select materials and binding techniques that best complement the content and finally design the object. Every book is meticulously assembled by hand, ensuring that every copy is a testament to our dedication.
M: You often use unconventional materials—waste paper, old stock, hand binding. What drives these decisions?
IG: Using unconventional materials reflects our understanding of sustainability and individuality. Some reflection of arte povera where light is brought out of darkness and transformation. These choices imbue each book with character and some history, making them distinct artifacts that stand apart from mass-produced publications. And always full of surprises that you would never expect of.
M: How important is collaboration in your workflow—between designers, printers, photographers, and writers?
IG: Collaboration is the cornerstone of our work. Of course, a top priority is the structure of how we collaborate with the photographers that we work with. Then, for me again as of very high importance is how we collaborate between us, inside the company. Since I accepted the position, I try to build strong relationships between the team that would define how we work, communicate and function. It is so important since we do everything in-house, except the printing of course. Each project is a symphony of diverse processes, where open communication and shared vision are essential.
M: What do you think sets Origini Edizioni apart from other photobook publishers?
IG: To put it simple. We create and craft artist photo-books. We care the most about poetic expression in all forms, narrative and tactility. We don’t mass-produce. We care for every copy of each title separately.
M: How do you balance aesthetic experimentation with the storytelling aspect of the book?
IG: All choices are always in service of the narrative; the actual images, the context, the book itself. While we embrace experimentation, it must enhance, not overshadow, the work. Our goal is to ensure that all elements amplify the resonance of the content. It’s always about maneuvering till balance. But if you think about it, what the word balance actually means? And for whom? The answer is difficult. In my opinion, we are always trying to follow the work, not the other way round. We have to improvise accordingly, trusting our instincts and what we do, and of course, each other. In the end, everything should feel harmonious, or at least, possible.
M: How has your vision for Origini Edizioni evolved over time?
IG: Definitely our vision has matured, embracing a broader spectrum of voices and goals. While our core principles remain, we’ve expanded our horizon of collaborations, beliefs and understandings. I wouldn’t put it so much in regards to subjects or stories. But voices. Yes, we are expanding our perception of voices available to be heard and also, we transmit Origini’s voice widely, seeking to be as present as possible to fairs, bookstores and libraries, continually seeking to challenge and inspire both ourselves and our audience to which -if I am allowed to say- we are thankful since its so dedicated and trustful to all our choices (and voices).
M: Are there any upcoming books, exhibitions, or projects you’re especially excited about?
IG: We’re currently working on many projects simultaneously (and I think it’s the first time that we have so many ongoing) since one of our many goals is to widen our catalogue, without sabotaging the fundamentals of what we do. At this moment, we are preparing for Arles with the second edition of “These Earthly Shores” by Daphne Kotsiani (our best seller so far for 2025), as well as “Solstice” by Claudine Doury (our best seller of 2024) together with a surprise for “La Cite Des Morts” by Bernard Guillot (one of our proudest moments as Origini). And of course, we are doing our best to have a new book in Arles as well to present: “Patchwork Garden” by the talent Ruslan Hrurshchak (former Origini Masterclass alumni).
M: What are your hopes for the future of photobooks more broadly—and for Origini Edizioni’s role within that?
IG: I will try to answer from the heart on this. I would like to envision a future where photobooks are recognized as vital cultural artifacts. At the moment, we may stand a bit far from that. It is our job to continue this journey and dream. We hope that Origini would be a voice of continuity, transmitting the sensitivity of the present. I would really wish that it would be possible to explain the complexities of existence just by making or showing some photo-books. I am not sure if it can happen. But we are definitely interested in the possibility that it could.
AS THIS CONVERSATION with Ilias Georgiadis comes to an end, it’s clear that Origini Edizioni is more than a publishing house—it’s a creative home built by people who care deeply about photography, books and artistic expression. Each book is the result of collaboration, vision and hands-on work from a small, dedicated team.
Ilias Georgiadis is the Creative Director of Origini Edizioni. Born in northern Greece, he began working with photography when he was 19, after leaving his university studies in mathematics. Since then, he’s been creating deeply personal, poetic work that explores human emotion and social issues. His photographs have been shown around the world and are part of private and public collections. His photobooks—Over.State, Vialattea and Forecast—have received international recognition. Alongside his photographic work, Ilias teaches, curates workshops, and recently published his first poetry book in Greek. He joined Origini in 2023, helping guide its creative direction.
Eugenia Koval is the Handmade Production Manager at Origini. Born in Ukraine in 1984, she brings the artisan soul to the publishing house. Eugenia is skilled in every part of bookmaking—from binding and sewing to cutting and papermaking. She started working with Origini in 2019 and became the production manager in 2022. Her hands have shaped many of Origini’s well-known books, including A Geography of Abandonment by Raymond Meeks, Forecast by Ilias Georgiadis, Only For Now by Joseph Rovegno, and Phenomena by Australian photographer Morganna Magee. Her quiet craftsmanship ensures every book is made with attention, care, and individuality.
Matilde Vittoria Laricchia is the Editorial Director and co-founder of Origini Edizioni. Born in Livorno, Italy, in 1985, she has been leading the project since it began in 2012. With a background in literature and the arts, Matilde brings thoughtful direction to every book, helping artists shape their ideas and choosing or writing the texts that accompany their images. Over the years, she’s overseen more than fifty titles, always focusing on creative freedom and strong design. She knows materials well and works closely on the look and feel of each publication, making sure every detail supports the story being told.
Ilias, Eugenia and Matilde bring together poetry, handcraft and strong editorial work. Through Origini Edizioni, they continue to create books that are personal, beautiful and lasting.
Publisher Information
Origini Edizioni
Atelier: Via del Forte San Pietro 14, 57123 Livorno, Tuscany
Email: info@originiedizioni.com
Website: www.originiedizioni.com
Visits to the atelier are by appointment only.
All images courtesy of Origini Edizioni
