In our exclusive interview for International Women’s Day, Paris Andrew, the Yorkshire-born, Tuscany-based luthier talks about working in a male dominated profession, her support for female luthiers, her love of making Baroque instruments and this week’s Star Buy, her Baroque Violin after Stainer. 

The Early Music Shop: Thanks Paris for taking the time to talk to us for our International Women’s Day feature. You’re making a name for yourself in what is still a male dominated world. Do you feel accepted and supported by your peers?

Paris Andrew: It's a mixed bag! For the most part I've found the lutherie community to be a fascinating, diverse group of characters and I do feel that I have a large, strong community of peers – but due to the craft being a traditonally male space there is unfortunately still pushback against female and femme presenting people in the field which I have experienced first hand through my education and career. This is one of the reasons why the Women in Lutherie community came to life and flourished! I've been a proud community organiser since the beginning and I find so much joy in having a strong, large group of women friends and colleagues around me.

EMS: Who were your mentors when you were starting out?

PA: My mentors throughout my education were all male – and all fantastically supportive, creative individuals. And throughout my training and development I was never made to feel singled out or 'other' by them due to my gender, and for that I consider myself very lucky and grateful.

EMS: I understand your mother is a stonemason, which is another unusual profession for a woman. How much of an inspiration has she been in your career?

PA: She is my number one inspiration – on and off the workbench! She retrained later in life and her resilience, creativity and curiosity are all the traits I hope to nurture in myself as both a luthier and a woman.

EMS: Is the situation improving for female luthiers? Is there now more acceptance?

PA: I feel as though we have made such huge strides forwards in recent decades, though there is still some way to go. The end goal is that we stop being 'women luthiers' and just get to be 'luthiers' without our gender being taken into consideration by peers, educators or clients.

EMS: You began as a player, what made you change direction?

PA: The terror of playing in public! But mostly because I've always enjoyed manual crafts, activities and hobbies since childhood, whether it was art, gardening, building or cooking – I needed a career that allowed me to work with my hands and create.

EMS: You are originally from Yorkshire and are now based in Tuscany, that’s quite a journey. Why and how did you choose to make your home in Italy?

PA: It's a big change! I aways assumed I'd spend my days at home in the north – but a chance encounter brought me to Florence seven years ago where I worked along Tuscan violinmakers observing their style and tradition of making – and I decided to stay! The weather is much better and I love living out here, but I do still miss a lot of things about the north of England (including Greggs).

EMS: Your base sounds idyllic. Do you work alone or with others?

PA: I work in the coop workspace of Liuteria Toscana – in this particular space there are two other luthiers from the cooperative who work here fixed, however the spare benches are usually filled with friends and members from all over the country and my students.

EMS: Your focus is on Baroque instruments. Is the process much different for making Baroque instruments than modern?

PA: It's a completely different world – there are so many things to take into consideration from the structure of the instrument, to anticipating demands from a baroque musician. My dream is to move into only making baroque in the future!

EMS: How much of your time is spent on restoration and how much on creating new instruments?

PA: It depends on the season, but I usually only accept one long term restoration project at a time so I can work half-and-half between restoration and new making and give full concentration to only two projects at a time – however we are a busy shop so I will accept repairs and set ups up to a point if I have the time, space and brain power.

EMS: When you are making a new instrument, do you always work to commission and if so, how much involvement does the customer have?

PA: I only tend to accept three commissions a year – and the client gets creative control! We work together on model, measurements and wood choice all the way to one-of-a-kind aesthetics for varnish and new ideas. I love a challenge!

EMS: Your instruments are very striking. Is the look of an instrument as important to you as the sound?

PA: The aesthetics are very important to the musician so I tend to steer towards a 'look' that I know if popular with my musicians like gently antiqued varnish – but I also believe we have so much room for fun and experimentation so I've also pushed a few boundaries with a bright pink violin, a painted collaboration violin, and this year a new instrument with modified sound holes will be available.

EMS: Your stunning Baroque violin after Stainer is our featured instrument. Can you tell us about this violin? For example, why did you choose the Stainer instrument as the model?

PA: I'm such a fan of the Stainer model because after many trials I've found it to be the model that consistently has such a warm, full, powerful sound. I particularly like this instrument as well, because of its lovely deep red varnish which I find such a lovely warm finish for a baroque instrument.