In both Europe and the New World during the post-WWII era, the trade of woodturning came perilously close to disappearing.
The demand for traditional turning declined, apprenticeships were no longer offered or were not interesting to the new generation, and workshops all over Europe, the Americas, Australia, and other countries closed down as the remaining tradesmen laid down their tools. Fortunately, a few of the remaining exponents of this craft survived to see the revival of turning, first as a hobby and then as an art form. Often bemused by this reinvention of their trade, they were still able to pass on some of their skills. But the main thrust of the turning revival came from newcomers who had not served apprenticeships and were not constrained by preconceived notions of what is acceptable.

In France, the traditional furniture and woodturning workshops suffered a similar decline. In some areas, such as the Jura in the north east, whole villages had been centers of turning. Although the post-war decline was slightly slower in these areas, it inevitably came. The turning revival also came slightly later in France, but it has gathered energy in a remarkable fashion. Now any discussion of the world turning movement needs to include the energetic and distinctive French scene, which is as much distinguished by its unique social character as by the art it produces. These qualities are partly due to surviving traditional trade values, partly because of the French penchant for organization, and also owe much to the French determination to be different.

During the 1980s, some isolated turners, aware that they could emulate the surge of popularity for turning abroad, started to talk about joining forces. The first gathering was held in 1989 in Orleans, where Richard Raffan and Ray Key demonstrated and taught. In 1994, Christophe Nancey organized the first Marche des Tourneurs (turner's market) in St. Jean Cap Ferrat on the south coast.

In 1995, the first truly international event was organized in the traditional turning region of the Jura. This Rencontres Européennes de la Tournerie (European Turning Conference) was a remarkable occasion, distinguished by the inclusion of historical and archeological aspects of turning, a first-ever major exhibition of French and foreign turned art, and demonstrations by both French and foreign turners. By the end of the event there was a feeling that something truly significant had taken place.
The organizers of this conference made an important choice when they invited Albert LeCoff from the Wood Turning Center in Philadelphia.

This later resulted in the invitation of many French turners to participate in the International Turning Exchange (ITE) in Philadelphia [see Woodwork, February 2001]. These and other French turners have now become part of the international scene, demonstrating all over the world and selling work to prestigious collections.

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