Earlier this month, LITO Masters launched The Claude Monet Collection by Edward Enninful. The first-of-its-kind limited edition of prints by the Impressionist master was put together by the beloved Fashion editor and curator Enninful in partnership with the Musée d’Orsay and Musée de l’Orangerie in Paris.
Known for his culture-changing and incredibly impactful work at British Vogue, among other publications, Enninful has lately set his keen eye to the world of art. Last spring he curated an exhibition of photography by Robert Mapplethorpe at the prestigious Thaddaeus Ropac gallery in Paris. He has shared that art has always been central to his life, falling in love with Monet specifically at an early age.
With LITO, Enninful selected eight works by Monet—including London Houses of Parliament” and “Water Lilies,” all remastered using LITO’s Hi-Rnd© technology which allows anyone to bring home an iconic work of art not simply in print form, but with the real texture and tactility of the artist’s brushstrokes rendered anew. Making the worlds of culture more accessible has been at the cornerstone of Enniful’s career, and this collaboration furthers that mission, allowing us to get up close and personal in our homes with the masterpieces of Monet.
Whitewall spoke with Enninful about his collaboration with LITO, his continuing passion for art, and what lies ahead.
Portrait of Edward Enniuful by Milo Chiavarino-Annaud.
WHITEWALL: What was the starting point for the project with LITO?
EDWARD ENNINFUL: When I am looking at new creative projects, I always go with a gut feeling—it needs to be something that excites me, something that resonates with me and culture at large, and that challenges the zeitgeist—that’s always been my north star. I had been impressed by the work LITO had been doing to narrow the distance between fine art and the customer—it was their ambition to bring creativity to a broader audience that really kicked off our early conversations to do something together. If I can play a part in getting more people interested or curious in new things, things that inspire me—then I’m very happy.
“I always go with a gut feeling…that’s aways been my north star,”
Edward Enninful
The Unparelled Emotion of Monet Transcends Time
WW: Why Monet? Of what significance has this artist’s work been for you? And how do his paintings still connect to you?
EE: I became familiar with Monet’s work at a young age, learning about his work from books at school. I remember being mesmerized by his brushstrokes and attention to detail along with the themes he chose to bring to life. The emotion that his work conveys is unparalleled—the tranquility and serenity continues to take my breath away, and make good reason for him to be one of the greatest masters of all time. He very quickly became one of my favourite artists, and continues to be today. Monet’s influence on my work I has been transformative—not only in how he approached his works with such precision, but the impact I imagine he wanted people to feel when in the presence of his art—these are qualities that I try to being into my own approach to my work. So when LITO and I were talking about this project, Monet was the perfect and obvious artist to celebrate together.
An Organic Curatorial Approach by Edward Enniful
WW: What is it like to curate the works in the collection? How did you go about making the selection?
EE: Curating is something I really love to do—and which in some way I have been doing throughout my career, albeit in different ways. With this particular collection, it all started with the pieces I loved, and which have resonated with me over the years, and the collection then grew from there.
Photo of scanning process by Aurelien Gendron.
“Curating is something I really love to do—and which in some way I have been doing throughout my career, albeit in different ways,”
Edward Enninful
Challenging the Exclusivity of the Art Industry
WW: You’ve said that with these prints, we not only get to look at the work, but get up close, touch, feel the stroke of the artist’s brush. Why do you think that is important? To close that distance between the artist, the artwork, and the viewer?
EE: I think it’s so important to continue to push traditional boundaries, and challenge the exclusivity in our industry. So many people find entering a museum or gallery very intimidating, I know I certainly was intimated when I was younger to walk into a gallery; places I didn’t think were for me. So it was integral to try and demystify that, and bring people closer to pieces of art, without losing the quality of how they are presented, and respecting their original techniques and intent. I really believe that this is the future of creativity.
Claude Monet, “London, The Houses of Parliament,” courtesy of LITO.
Art as the Beating Heart of Edward Enniful’s Work and Life
WW: What work from this collection are you putting on your wall at home?
EE: London, The Houses of Parliament. It’s a painting I have loved since I was a child growing up in London, and walking past the impressive building which has so much meaning and history.
WW: How did art play a role in your life growing up?
EE: Art is my life—it has shaped who I am, my taste, my work, my influences..everything. And I find inspiring across all of its disciplines from painting, sculpture and photography to film, theatre and costumes—I look for the beauty in all of it. And throughout my career, I have always looked to art for inspiration for my own storytelling; whether that’s being influenced by artworks I’ve grown up with, or record covers I’ve seen—art really is the beating heart of my work.
“Throughout my career, I have always looked to art for inspiration for my own storytelling,”
Edward Enninful
The Symbiotic Relationship Between Fashion and Art
WW: You’ve said that in London in the 90s, the art and fashion world was all mixed together. How did your interest in art influence your Editorial approach?
EE: Fashion and art have always been symbiotic, and the exciting thing is that they don’t have to live in siloes anymore—they inform each other, and propel each other forward. Art has always played a huge part in my editorial approach—again, whether that’s through references I’ve seen, or living artists Ive celebrated in the pages of the magazines I’ve worked at. It’s always been very seamless for me.
Claude Monet, “Matin aux Saules I,” courtesy of LITO.
An Ever-Evolving Personal Art Collection
WW: When did you first start collecting art? What were the first pieces you acquired? And a recent acquisition?
EE: I don’t see collecting art as being defined by a specific price point, and started amassing a collection from a young age, buying posters of images that inspired me for my wall for example. The most recent acquisition is London, The Houses of Parliament from my collection with LITO, it’s a beautiful and symbolic piece of work, that now holds an even more special place in my heart.
Looking Forward to Nicholas Cullinan’s New Vision for The British Museum
WW: You’ve said that art is the most important thing to you, that it’s something you have to experience every day. What’s an exhibition you’ve seen recently you’re still thinking about?
EE: I am a future-gazer by nature, so actually one of the things I am most looking forward to is what my dear friend Nicholas Cullinan will bring to The British Museum as its new director. I am really excited to see his plans for the modernization of one of Britain’s greatest institutions. I have no doubt that he will inject new life, energy and creativity into the Museum, propelling it into the future.
Curating Robert Mapplethorpe at Thaddaeus Ropac and Beyond
WW: Earlier this year you curated a show of Robert Mapplethorpe at Thaddaeus Ropac. Can you tell us about that experience and how you see your role as a curator continuing?
EE: I really enjoyed it! Mapplethorpe’s archive is so vast, that I spent days editing down the work to the perfect number for the exhibition. I approached the curation in an instinctive way, rather than anything pre-planned or forced. In terms of the future, curating and editing is something that is in my blood, and can take many different—so I hope to be able to continue doing so in some shape or form.
Courtesy of LITO.
