Kate Horgan, founder of Kate Horgan Bespoke Books
How I started in publishing
During my career I worked in different areas of photography – photojournalism, portraiture, and commercial, both in Ireland and America. I had exhibitions of documentary projects, and an exhibition of portraits of Irish musicians. I also studied graphic design, along with working as a reporter and photo editor for various publications.
I wanted to continue working with photographs, even if I wasn’t taking them so much any more
After the economic crisis, the industry changed a lot. I was also busy bringing up my daughters, so I moved away from photography for a while.
I wanted to continue working with photographs, even if I wasn’t taking them so much any more. My idea was to become a maker of photo books, using the skills I’d gathered over the years. Ten years on, I’ve helped a lot of people make a lot of different books.
Where I work now
Starting out in Kate Horgan Bespoke Books I primarily made books of photographic collections such as Human Mist by Fionbharr Ó Súilleabháin. Since then I’ve branched out to make family histories, art books, an illustrated volume of poetry, Near and There by John Boland, as well as a cookery book and even a book of chess problems. The unifying element is that every book is illustrated with either photographs or drawings, and each one is designed to show the illustrations at their absolute best.
The unifying element is that every book is illustrated with either photographs or drawings, and each one is designed to show the illustrations at their absolute best
So many people have a long-held dream of publishing a book about something that means a lot to them, which can then be shared, and passed along. A book lasts a very long time, and can’t get corrupted or mislaid like digital files and photos often are. I find people really appreciate the solidity and permanence of a well-made book, and it means a lot to me to help them realise their dream.
The best thing about my role
There are so many great things about making books with people, but one of the best things is the moment a client holds a copy of their book in their hands for the first time. They’ve probably been through a long process of wondering if they could make a book at all, to refining and collecting their material, then seeing initial designs and making decisions with me about paper, and cover, and all the other elements. For a while, the process can feel somewhat abstract – but when I see them open the package from the printer and they see the finished result for the first time, it’s very special.
the process is very collaborative, with a lot of discussion and swapping ideas back and forth
Another element of the process I do enjoy is getting to know the author along the way. I suppose one day someone might turn up with an almost-finished project for me to turn into a book, but that hasn’t happened yet. Instead, the process is very collaborative, with a lot of discussion and swapping ideas back and forth, which authors enjoy a lot.
A mistake I made
Starting out, I thought the best way to produce very short-run books was by using self-publishing online platforms such as Blurb. But I quickly realised I could get much better results using Irish printers and binders, with an infinite range of book sizes, paper choices and cover finishes. And for any print run over about 20 copies, there’s no question that using local suppliers is more economical too.
I quickly realised I could get much better results using Irish printers and binders, with an infinite range of book sizes, paper choices and cover finishes
My proudest moment so far
Just before the Pandemic, I was asked by the singer Donovan to help him make a fine art limited edition of a handmade book. The book, Luna Love, details his wife Linda’s fascinating life from the Swinging 60s in London up to the present day. It was, as Donovan put it, “a work of heart.”
It’s so important to me to deliver exactly what an author wants, while bringing my own skills and creative vision to their personal project
He is incredibly detail-oriented, and specified every element of the design and production, right down to the natural fibres used in the cloth cover. I co-ordinated with suppliers in Dublin, Cork and Belfast to reproduce his vision exactly, which was extremely difficult under lockdown conditions. When he told me how delighted he was with the 300 finished books, I had a huge sense of achievement. It’s so important to me to deliver exactly what an author wants, while bringing my own skills and creative vision to their personal project.
What the future holds
Every book is different, and needs a different approach. One of the things I love about making them is that I am constantly learning new ways of getting the results I want, in terms of design and production. So I imagine the future will see me using new print techniques, in conjunction with some of our excellent Irish printers.
I am constantly learning new ways of getting the results I want, in terms of design and production
I’m also excited to explore using new photo retouching tools, which will really bring old photos to life in ways that weren’t ever possible before. Apart from that, I expect I will be asked to make books on many different subjects, which means my job doesn’t ever get boring!
A book recommendation
As a proud Dubliner, I was delighted to recently receive a gift of the new Steidl edition of Evelyn Hofer’s classic photo book Dublin (1967). The original edition is long out of print, and this new version not only has absolutely pristine reproductions, but includes some photographs not seen in the original, along with an introduction by Hugo Hamilton. It’s an absolutely beautiful visual record of our city in scenes that have mostly – but not completely – disappeared. I’d like to think that one day I could produce a classic Irish photo book such as this one.
