The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This shift is difficult to overlook: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality looms as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.
In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.
"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will fade."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."
Those early experiences would forge a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor".
"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider."
Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has included its share of adversity, including well-documented periods of mental health and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to fit into a box has inspired him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.
"Galleries often failed to celebrate the most relevant talents because they lacked the traditional credentials," he states.
This project itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of defying expectations.
How would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
