The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
If Enninful sounds nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This change is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political figure appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.
According to Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from art.
"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."
His formative years would define a groundbreaking career built on boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.
"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds."
Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including well-documented struggles with depression and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be defined narrowly has led him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.
"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes.
The magazine 72 itself uses a unique strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."
A Testament to Resilience
Now, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions.
How would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
