{"id":223084,"date":"2025-05-04T15:35:10","date_gmt":"2025-05-04T15:35:10","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/meet-the-author-philippe-lafargue\/"},"modified":"2025-05-04T15:35:10","modified_gmt":"2025-05-04T15:35:10","slug":"meet-the-author-philippe-lafargue","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=223084","title":{"rendered":"Meet the Author: Philippe Lafargue"},"content":{"rendered":"


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Editor\u2019s Note: Philippe Lafargue, along with Michele Pietryka-Pag\u00e1n\u00a0and Don Williams, are the folks we have to thank for \u201cTo Make as Perfectly as Possible: Roubo on Marquetry,\u201d which we first published in 2013, and \u201cWith All Precision Possible: Roubo on Furniture,\u201d which we first published in 2017.<\/em><\/p>\n

Those editions are now sold out. However, the new deluxe edition of \u201c<\/em>With All Precision Possible<\/em><\/a>\u201d is now available, and we plan to offer a deluxe edition of \u201cTo Make as Perfectly as Possible\u201d soon.<\/em><\/p>\n

Philippe, Michele and Don are also working on more volumes of Roubo, with a\u00a0focus on interior carpentry, garden carpentry and carriages.<\/em><\/p>\n

Philippe Lafargue was born in the southwest region of France, in the Basque country, in a town called Biarritz.<\/p>\n

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\u201cIt\u2019s called the little California of France,\u201d Philippe says. \u201cIt resembles the California coast because of the cliffs, beachgoers and surfing. The weather is pretty mild all year round, and you have mountains in the background. I was lucky to be born there and raised there. I had access to the natural beauty of the environment, which was very nurturing.\u201d<\/p>\n

Philippe lived with his parents, grandparents and older brother in a small, one-floor house with a basement.<\/p>\n

\u201cI would find refuge in the basement because we were crowded in the house,\u201d he says. \u201cI remember the winter months when I sheltered there. The furnace was there so it was warm and I could see the rain falling but I was protected.\u201d<\/p>\n

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In the basement was an old workbench, anchored to the wall. Philippe worked on projects on that bench, imprecise but creative work that he loved. He also spent a lot of time at his uncle\u2019s farm.<\/p>\n

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At times, Philippe found it difficult to feel motivated in school outside of the more artistic classes. He loved hands-on classes that inspired new ways of looking at things and doing things. He connected with a teacher at school who helped him get started in airplane model making.<\/p>\n

Early on, Philippe knew he wanted to be a cabinetmaker.<\/p>\n

\u201cI was fascinated with the work of a cabinetmaker,\u201d he says. \u201cI wanted to be a true cabinetmaker, making case furniture. I don\u2019t know where this came from.\u201d<\/p>\n

He wonders if he was, in part, influenced by all the furniture, made by a local cabinetmaker, in his parents\u2019 house.<\/p>\n

\u201cYou could buy what you could afford at the time, so it\u2019s not very attractive,\u201d he says. \u201cBut it\u2019s very well done.\u201d<\/p>\n

As a teen, he was set to study cabinetmaking at school, theory and practice. But three months before the course was slated to begin, academic offerings shifted regionally. Suddenly, cabinetmaking wasn\u2019t available based on where Philippe lived, and none of the other options offered to him interested him.<\/p>\n

\u201cI told the staff of the school that I didn\u2019t see cabinetmaking there so I wasn\u2019t interested,\u201d he said. \u201cI started looking for an apprenticeship.\u201d<\/p>\n

While looking, Philippe was offered an opportunity to attend a school two hours away from his hometown.<\/p>\n

\u201cLife is about opportunities,\u201d he says, \u201cbut it\u2019s also not being afraid to take the train when it\u2019s going full steam.\u201d<\/p>\n

Becoming a Cabinetmaker<\/strong><\/p>\n

Before being accepted into the school, Philippe had to complete a series of tasks and projects. Philippe wonderfully shares that experience in an essay in \u201c<\/em>With All Precision Possible<\/em><\/a>.<\/em>\u201d<\/p>\n

In short, that summer he found a cabinetmaker who agreed to take him under his wing. In addition to helping the cabinetmaker with odd jobs, he worked through his tasks and projects, the cabinetmaker serving as mentor.<\/p>\n

For his first task, Philippe dressed up the face and edges of rough lumber, making it perfectly equal in thickness and length, with hand tools only. Next his mentor taught him how to cut dovetails and he built a jewelry box and bread basket out of mahogany and cherry, using a set of provided blueprints for reference. He also learned how to sharpen chisels and hand plane blades.<\/p>\n

This, from his essay:<\/p>\n

That summer was an eye-opener in many respects and it cemented my desire to work with wood in some capacity. When fall arrived, I enrolled in my new school as a cabinetmaker. The school was training young fellows like me to be ready to enter the workforce quickly and thus the training was more focused on knowledge and use of equipment than on hand skills. After a summer of working with my hands, I balked. Two weeks into the school year I was certain that this was not the path I was seeking. I asked for an audience with the school director and shared him my dilemma. I told him I wanted to work with my hands and chairmaking would work better for me. I asked to be transferred and bid farewell to cabinetmaking. It is amazing what you can do when you are very motivated and stubborn.<\/em><\/p>\n

I began my education in chairmaking the following week and while machinery was part of the training, there were many parts of a chair that could only be accomplished by hand, and that suited me just fine. So for the next two years, I learned the art of chairmaking, \u201cindustrial style,\u201d which also included making beds and end\/pier tables. There was a pretty straightforward approach to accomplishing such tasks. Now I was able to read a set of blueprints and from it, trace all the required contours and profiles used to cut out the necessary chair parts from the lumber. Thinking back, I am still amazed that in that class, all of us could produce an armchair in 24 hours, ready for finishing.<\/em><\/p>\n

At the end of two years I had a diploma in my pocket and some experience under my belt. Now I could return to my mentor\u2019s workshop and turn on and use all the power tools to my heart\u2019s content, something I had earned and did proudly. I had a great summer in the little workshop that year.<\/em><\/p>\n

During that summer, a friend told him about the esteemed \u00c9cole Boulle<\/a> in Paris, which has offered higher education in applied arts and artistic crafts, including cabinetmaking, marquetry and restoration work, since 1886. To enroll, Philippe first had to pass a two-day exam, which included creating a full-size set of technical drawings with accurate dimensions of a Louis XV-style chair. He was accepted.<\/p>\n

\u201cIt was another world,\u201d Philippe says. \u201cYou\u2019re learning about a lot of things, all around.\u201d<\/p>\n

After two years at \u00c9cole Boulle, he worked out a deal with the director. He would come back a third year, tuition free, and help fabricate everything that came out of the design workshop.<\/p>\n

\u201cThat was very cool because they were doing some very interesting stuff, combining not only wood but metal and plastic,\u201d he says.<\/p>\n

Now he was firmly planted in hands-on learning and he loved it. But the dream situation was short-lived.<\/p>\n

Mobilier National<\/strong><\/p>\n

A couple of weeks into his third year at \u00c9cole Boulle, a teacher told him about chairmaking job openings at Mobilier National<\/a>, that manages the furniture of the French State, such as the furnishing of ministries and embassies, its storage, its restorations, and its design, notably with the Research and Creation Workshop. It was an opportunity Philippe couldn\u2019t pass up. So he and a friend decided to apply. But first, they had to pass an exam.<\/p>\n

When they arrived, they were given an armchair and a stack of wood. On day one, they were tasked with drawing the chair to scale. On day two, they were tasked with using their own drawings to each build an armchair in 24 hours. They both were hired.<\/p>\n

Philippe worked there for three years.<\/p>\n

\u201cIt\u2019s like the history of France in all kinds of objects,\u201d he says. \u201cIt was incredible. I saw all the campaign traveling furniture of the Napoleon War.\u201d<\/p>\n

Here, for example, Philippe worked on chairs stamped by famous chairmakers of the 18th<\/sup> century. The \u201cusers,\u201d often high-ranking government officials, didn\u2019t want reproductions. They wanted original pieces, signed and perfectly restored. It was all cyclical, too. For example, a canopy bed might be used by the president of France while elected for seven years and then returned to be left in storage.<\/p>\n

Philippe questioned the restoration work at times, ripping off nails, redoing this, fixing that.<\/p>\n

\u201cBut there\u2019s so much, that you don\u2019t even consider when there will never be enough one day,\u201d he says. \u201cThat\u2019s the problem. You value it differently.\u201d<\/p>\n

After three years, Philippe realized the job came to him too young. He could envision himself as head of the section in which he worked, but he wanted more out of life.<\/p>\n

\u201cIf you stay in a job like that young, you are going to lose everything you have to offer,\u201d he says. \u201cThere is no room to express yourself. There\u2019s no room to grow. It\u2019s very limited.\u201d<\/p>\n

Philippe went back to South France. He felt boxed in. In France, work is quite compartmentalized and segmented, he says, to the point of being rigid. He knew if he stayed that trying anything new would be complicated.<\/p>\n

\u201cSo in 1987, I took my bag and went to the U.S.,\u201d he says.<\/p>\n

An Internship at the Smithsonian<\/strong><\/p>\n

\u201cIn the U.S., I realized quickly that first I had to learn English,\u201d he says. \u201cAnd I had to think out of the box because I could not just be a chairmaker. If you\u2019re going to be a chairmaker in the U.S., you\u2019re only going to be a chairmaker if you make things that are exceptional. You\u2019re going to find a clientele that wants your stuff and that\u2019s it, but that\u2019s going to be rare.\u201d<\/p>\n

Eventually he landed an interview at the Smithsonian Museum\u2019s Conservation Analytical Laboratory (now called the Museum Conservation Institute). The job \u2013\u00a0the museum\u2019s first wooden objects intern. At the time, Don Williams worked in the lab and Mark Williams was head of the lab.<\/p>\n

\u201cI remember the interview in the meeting room,\u201d Philippe says. \u201cI was at the end of the table. I was shaking like a leaf. I knew 200 words of English. I had a little portfolio of photographs. And all these heads of all these sections were bombarding me with questions. It was freaking me out.\u201d<\/p>\n

He got the internship.<\/p>\n

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In his first week, he ended up in New Orleans at a convention for conservators from around the world. His eyes were opened to how other countries view the roles of conservator, restorer and curator. In the U.S., he says, you respect the stain as much as you respect a brand-new piece.<\/p>\n

\u201cYou respect the history because everything is telling you something,\u201d he says. \u201cWe\u2019re just only passing information. We are not here to change information. That\u2019s the big difference. You restore to have something look good. In the U.S., you encapsulate this moment and pass it along. And you remember that the best is always the enemy of the good.\u201d<\/p>\n

One day at the Smithsonian he saw someone had left three volumes of Roubo on his desk. Don and Mark asked Philippe if he could translate them.<\/p>\n

\u201cI said no. I won\u2019t. It\u2019s impossible,\u201d Philippe says. \u201cI didn\u2019t know enough English at the time and I didn\u2019t think I would have been able to manage that at all.\u201d<\/p>\n

While protesting, Philippe opened up one of the volumes and found a plate that shocked him. It was an illustration of a workshop and it looked identical to his workshop in Paris.<\/p>\n

\u201cIt was and still is exactly the same,\u201d he says. \u201cIt\u2019s a row of workbenches. Windows on the left, big windows, floor to ceiling. The same spacing between each bench, the same lineup. On the right you have space to have small sawhorses or your glue pot. And you have an equipment room on the other side. When I saw these pictures, I couldn\u2019t believe it. We haven\u2019t moved from that yet. To me, it was unbelievable.\u201d<\/p>\n

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In the beginning, Philippe worked closely with Mark, who hired and supervised him. When Don took over as head of the lab, he and Philippe worked well together, connecting over a shared taste in music.<\/p>\n

No longer stuck in the role of chairmaker, Philippe decided to spread his wings even more.<\/p>\n

Tryon Palace<\/strong><\/p>\n

In 1990, Philippe found a new opportunity as a conservator at Tryon Palace<\/a> in New Bern, North Carolina. He enjoyed this work for a while, but eventually realized he was missing something.<\/p>\n

\u201cI was lacking communication with what I was doing because those objects, they never talk back to you,\u201d he says. \u201cIt was a bit too quiet.\u201d<\/p>\n

He switched gears to technical services manager, taking care of the well-being of its collections and buildings and its day-to-day operations. He worked up to the role of deputy director, which involved more finance work and human resources, and then helped build the N.C. History Center. \u00a0In 2014, he was named executive director, a role he had been filling since the 2012 death of the previous director.<\/p>\n

During this time, Philippe realized that all of his education, hands-on experiences and exposures to new opportunities had prepared him well for such new and varied work.<\/p>\n

\u201cSuddenly, you have all these resources that help you find a solution,\u201d he says. \u201cIt\u2019s like when you are building case furniture and you have something that doesn\u2019t work, you find a solution. There is something, a mechanism in place that \u2013 click \u2013\u00a0it goes in. If you\u2019re in a field that\u2019s not quite yours, you use your mechanical skills to resolve stuff. It\u2019s in place. You have learned how to make it work. You pull on your resources. I was glad to have my training because I can visualize things in three dimensions. I can see things very quickly.\u201d<\/p>\n

Philippe has found his professional journey gratifying.<\/p>\n

\u201cI was able to start from a wooden block but it\u2019s not a block anymore,\u201d he says. \u201cIt becomes whatever you want it to become. But you still have this hands-on quick understanding and then up, up, up and you work with people. It just happened to be that way. Primarily, I was able to open my mind. And it\u2019s not always easy. But you make a mistake and you start again.\u201d<\/p>\n

Working on Roubo<\/strong><\/p>\n

Over the years, Philippe and Don kept in touch, somewhat sporadically. One weekend, Don called Philippe and told him he had started the translation of Roubo\u2019s books. Don once again asked Philippe for help. This time, Philippe agreed.<\/p>\n

Don asked immediately if he\u2019d like to be named as an author.<\/p>\n

\u201cI said, Don, I don\u2019t know. Send me stuff. If you like what I do, that\u2019s fine with me. If you don\u2019t like what I do, don\u2019t put me on. So that\u2019s the way it ended up being,\u201d Philippe says. \u201cI had no expectations. I was just doing it to help and for the fun of reading historical documents.\u201d<\/p>\n

They found a rhythm. Don and Michele completed their work, then sent everything to Philippe to look at it from the perspective of someone whose native language was French and who had a breadth of knowledge in French historical craftsmanship.<\/p>\n

The first book took a while. Philippe worked on it every night after work, for two to three hours. The second one was a lot faster \u2013\u00a0it took Philippe about six months to complete.<\/p>\n

After the first edition of \u201cTo Make as Perfectly as Possible\u201d was printed, Philippe joined Don at Woodworking in America 2013 in Cincinnati for a book signing.<\/p>\n

\u201cI thought I was on another planet,\u201d Philippe says. \u201cI said, \u2018What the heck is going on?\u2019 It\u2019s one of those feelings like you don\u2019t know where you\u2019ve landed. It was funny. Don gave a lecture. I bumped into people like Roy Underhill. I ended up staying with Megan [Fitzpatrick] in her house. She was trying to finish her house. Is she still? I\u2019m sure she is, with all the work she puts in at Lost Art Press. Anyway, Don and I got to see all the beautiful furniture she\u2019s made. That was a lot of fun.\u00a0 It was all very strange but it was one of those moments in life that stays always engraved. You have these beautiful vignettes in life where you cross paths with people.\u201d<\/p>\n

Philippe is now back in France, in Saint Nazaire, a small town of about 2,500 people. He\u2019s 20 minutes away from Spain, surrounded by mountains and the Mediterranean Sea.<\/p>\n

He\u2019s working with Michele and Don on new Roubo translations.<\/p>\n

\u201cThat team is very relaxed,\u201d he says. \u201cThis is the type of project you don\u2019t get ready for. You can\u2019t work ahead of time. You just wait for it to fall in your lap and then you go.\u201d<\/p>\n

\u2018Life is to Discover Yourself\u2019<\/strong><\/p>\n

Having spent many years living and working in France, and many years living and working in the U.S., Philippe finds the differences quite interesting.<\/p>\n

\u201cIn the U.S., there\u2019s this quest for success and not being afraid of it,\u201d he says. \u201cThere is a lot more freedom available where you pursue things or dream of things.\u201d<\/p>\n

It\u2019s an attitude of, Why not? Let\u2019s try<\/em>, he says.<\/p>\n

\u201cWhat I did in the U.S. professionally is impossible to do in France. You could do it in France, but only if you had the right diplomas. In the U.S., I was not judged by my diploma. I was judged by my character, by my work ethics, by all these things that we should be judged on.\u201d<\/p>\n

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These days, Philippe had rediscovered the joy of model making (with a nod to his childhood) and he\u2019s tapping into more creative work, creating folk art. He works in a room that is a bit less than 10 square meters, with a tabletop as a workbench. He\u2019s content.<\/p>\n

\u201cI\u2019m very curious by nature,\u201d he says.<\/p>\n

For example, when making a model sailboat, he also made the sail.<\/p>\n

\u201cI pulled out a sewing machine and I sewed the sail because the process was a mystery to me,\u201d he says. \u201cI\u2019m attracted to all those things that are new to me. I have a desire to surprise myself and discover other matter.\u201d<\/p>\n

He\u2019s also being mindful about sharing what he\u2019s learned over the years.<\/p>\n

\u201cThat is also something that is more common in the U.S. than here,\u201d he says. \u201cHere, people retire and are finished. A lot is lost, really. The mentality is really different. In the U.S., when I was working in the museum, we had a lot of volunteers. They don\u2019t want to just stop and do nothing. They come and share their stuff, they participate in life. I don\u2019t know. It\u2019s another way of looking at things. I\u2019m not saying one way is better than the other, but for me, I was glad to be exposed to that way of looking at things because it made me bigger, bigger in looking at things and accepting things and opening up my mind. That\u2019s what I like.\u201d<\/p>\n

Living life this way has required him to make some hard choices, he says.<\/p>\n

\u201cI\u2019ve learned when you go down river, it\u2019s always easier to go with the flow,\u201d he says. \u201cThere\u2019s always something you\u2019re going to be able to catch on the side of the river to make a pause. When you try to go against the current, that\u2019s where you\u2019re drowning and you\u2019re missing all the opportunities.<\/p>\n

\u201cYou can fight all the time but life is going to take you where it\u2019s going to take you. It\u2019s up for you to go for it, to be quick to accept and change. And you are always part of it. That\u2019s the beauty of it. No matter what happened, you are part of it \u2013\u00a050 percent is your choice. The rest is to accept that you have decided to do this or not. That\u2019s the difficult part. But life is short. Life is to be lived. Life is to discover yourself.\u201d<\/p>\n

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Editor\u2019s Note: Philippe Lafargue, along with Michele Pietryka-Pag\u00e1n\u00a0and Don Williams, are the folks we have to thank for \u201cTo Make as Perfectly as Possible: Roubo on Marquetry,\u201d which we first published in 2013, and \u201cWith All Precision Possible: Roubo on Furniture,\u201d which we first published in 2017. Those editions are now sold out. However, the […]<\/p>\n","protected":false},"author":1,"featured_media":223085,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[3685,83522,5156,1653],"dealstore":[],"offerexpiration":[],"class_list":["post-223084","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-author","tag-lafargue","tag-meet","tag-philippe"],"yoast_head":"\nMeet the Author: Philippe Lafargue - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=223084\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Meet the Author: Philippe Lafargue - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Editor\u2019s Note: Philippe Lafargue, along with Michele Pietryka-Pag\u00e1n\u00a0and Don Williams, are the folks we have to thank for \u201cTo Make as Perfectly as Possible: Roubo on Marquetry,\u201d which we first published in 2013, and \u201cWith All Precision Possible: Roubo on Furniture,\u201d which we first published in 2017. 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