Mr. Liaigre was born on Aug. 10, 1943, in La Rochelle, France. His father was a veterinarian, and his grandfather, for whom he labored for a decade after attending the École des Beaux-Arts and the École Nationale Supérieure des Arts Décoratifs in Paris, bred horses.
He is survived by his spouse, Deborah Comte-Liaigre; their son, Leonard; and a granddaughter. His daughter, Virginie, died final yr.
Mr. Liaigre’s design roots have been French Modernism, Asian furnishings, African artwork and using — bridles, saddles and stirrups. Many in contrast him to Jean-Michel Frank, the early French minimalist, however “with less ennui,” as Mitchell Owens, the ornamental arts editor at Architectural Digest, mentioned in an interview.
“Liaigre’s work had a butchness to it,” he added. “It was very male and very architectural.”
Decades earlier, Mr. Owens had interviewed Mr. Liaigre about how his upbringing had influenced his work He recapped the interview on Instagram:
“We talked of his childhood near La Rochelle, his potent memories of his veterinary surgeon father’s tools and of accompanying him from farm to farm throughout the Vendee, his respect for woodworkers and love of chestnut and oak trees, and his belief in furniture that, no matter how reductivist, held the whiff of the terroir in its design.”
Former staff described Mr. Liaigre as a quiet, meticulous trainer whose drawings have been at all times completely to scale. “He felt that to get the proportions right, the only way to do it was by hand,” mentioned Kirstin Bailey, a designer in Mr. Liaigre’s studio within the 1990s.
Mr. Liaigre bought his firm to a gaggle of buyers in 2016.
“To say that he was detail-oriented would be a gross understatement,” Mr. Balazs of the Mercer wrote in an Instagram publish. “‘Obsession’ would be far more apt.”