Answer extracted from the Beyond Luxury podcast — listen to the full episode below.
The surrealism book in Assouline's Collection of Styles was finished and creatively excellent, but double copyright fees—one for photographers and one for artists—made the total cost financially prohibitive for a luxury publisher. Though the team spent extensive hours perfecting the project, the copyright burden ultimately blocked publication.
In the world of luxury publishing, budget constraints operate differently than in commercial trade. Every design choice, every photograph, every artistic element demands rights clearance and payment. This isn't unique to Assouline—but the scale of their ambition makes it acute.
For a surrealism-focused book, the copyright challenge compounds. Surrealism demands visual depth and cultural context: artist estates controlling reproduction rights, photographers holding exclusive agreements, estates managing legacy permissions. Unlike a straightforward biography or travel guide, a surrealism volume requires layered clearances that exceed conventional publishing budgets. A single artwork may require approval from multiple rights holders. A photograph of a surrealist installation might need clearance from both the photographer and the artist's estate.
Martine Assouline and her team understood the work was creatively complete. The editorial vision was sound. The design was flawless. But as she explains in the full episode, luxury books carry inherently higher production costs—and when copyright fees escalate beyond feasibility, even completed projects must wait.
"It's something that nobody can take from you. And it's going to shape you. And it's going to make your identity stronger."
Martine Assouline — Co-Founder and Editor-in-Chief of Assouline. Together with her husband Prosper, Martine founded Assouline over 30 years ago, transforming it from a basement operation into a global luxury publishing house with over 2,000 fashion, travel, art, design, architecture, and gastronomy titles. Her background in fashion and PR, combined with education in French literature at Lycée Français, shaped her editorial eye for cultural depth and visual excellence. Under her leadership, Assouline expanded beyond publishing into luxury retail through Maison Assouline, with culture lounges in London and New York, bespoke library design services, and curated collections of objects and furniture.
The team hasn't abandoned the project entirely. As detailed in this podcast conversation, Assouline remains committed to finding a way to publish the surrealism book eventually. This illustrates a reality of luxury cultural publishing: creative excellence and financial feasibility don't always align on the first attempt. The constraint isn't creative failure—it's structural cost.
This decision reflects broader industry pressures. Luxury publishers operate on thinner margins than mass-market houses, yet their standards demand higher production values and more extensive rights negotiations. When a single book's copyright burden becomes unsustainable, the choice becomes clear, even for completed, excellent work.
Completing a luxury book is not the same as being able to publish it. Assouline's team invested significant creative resources into perfecting the surrealism volume—research, design, sequencing, photographic selection. Yet none of that work translates to publication if the legal and financial infrastructure can't support it.
This gap reveals how rights management, not creative vision, can determine a publisher's output. For a company that has published over 2,000 titles across fashion, travel, art, design, architecture, and gastronomy, the decision to shelve a finished book signals the weight of copyright economics in luxury publishing. It's a constraint Assouline continues to navigate as it seeks pathways to eventually bring the surrealism project to market.
Selection comes naturally through curiosity and understanding how the world is changing. Ideas often emerge from meeting people and feeling drawn to their stories and contributions to culture.
After spending significant time creating beautiful books, Martine and Prosper found them displayed alongside less carefully crafted publications in standard retail settings, which motivated them to create dedicated spaces where curated collections could be properly presented.
Taste and style have nothing to do with how much money you have. It is a question of curiosity and the kind of life you choose, influenced by the people you surround yourself with and the experiences you pursue.