Her look, like her sound, seems to exist outside of time. On her album covers, Enya’s always posed against a backdrop of nature or old regency the cover of her 1988 breakthrough album Watermark renders her the subject of an Impressionist painting. Her look, like her sound, is markedly different from the norms of musical celebrity: her pitch black hair trimmed short, her clothes Arthurian.
#ENYA ALBUM COVERS SKIN#
There are no photos of Enya in pants, or without the makeup that emphasizes her alabaster skin and dark, pooling eyes. No one knows much about her private life, save that she’s close to her family, hasn’t been married, and enjoys old Hollywood. One shopkeeper claims to have seen a woman matching her description in a tracksuit, but the idea of Enya in a tracksuit boggles the mind. Unlike other local celebrities - Bono, The Edge, Van Morrison, Pierce Brosnan, director Neil Jordan - who’ll make odd appearances at the local establishment, Enya is seldom seen outside the walls of her castle. Her underexposure, after all, is at the heart of both Enya-nomics and her appeal. Several years ago, she was invited to Harvard Business School to discuss the subject, but, like most invitations, Enya declined. Her success so deeply contradicts accepted industry wisdom that it’s inspired a term - “Enya-nomics” - to describe it. Yet she has sold a total of 80 million records, and is one of a dwindling group whose records people are willing to buy. She takes up to seven years between albums. But unlike her neighbor Bono, whose income stems from massive world tours, Enya does not, and has never, toured. Enya - whose wealth is estimated at $136 million, about double that of Chris Martin - bought her own. Traditionally, castles were passed through family lines. I just look at the view, and if it’s overcast and raining, no matter: I never tire of it.” Her bedroom, Enya tells me, is her favorite room. “I open those shutters, and the sea, it’s different ev-er-y day,” she says. There’s the Wicklow Mountains in one direction, and Dalkey Island, where the mystical stones of the druids still mystify, in the other. Her bedroom has no curtains, just shutters, and when she opens them each morning, the Irish sea sprawls out before her. And the bathrooms, which she’s filled with Lalique glass - a word she pronounces like it were a bonbon melting on her tongue. But when Enya moved in, she redid them all. The castle is small, as castles go, just six bedrooms. Surveillance cameras eye and remind: Enya does not accept visitors unbidden. Those walkers don’t pause when they pass the place in the eight-foot stone wall where a legit turret peeks over massive wooden gates - where, if you look closely, you can see the seam in the stone wall where Enya added four additional feet of height when she moved in back in the late ‘90s. Here, you’ll pass clumps of walkers taking the air, most with golden retrievers, all with sturdy anoraks in sensible colors. From there, it’s a quick stroll down the road, past the groundskeeper’s cottage that’s now a coffee shop, and through a stone gate that narrows an already spindly road. Walk past a massive public park, where paths thread by a resting quarry and an obelisk, erected in 1740 to distract the Irish peasants from the hard year that had come before. At least everyone in Killiney, the sloping, oceanside village 45 minutes out of Dublin.
#ENYA ALBUM COVERS HOW TO#
What makes her music - and the mysterious woman behind it - appealing to so many? Anne Helen Petersen visits the reclusive singer in Ireland.Įveryone knows how to get to Enya’s castle. Over the course of three decades and 80 million records sold, Enya has morphed into more than musician: She’s her own adjective.
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