The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the growth of populist movements, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political personality stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the solution has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from music.
"People with a voice should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
The beginnings of his career would define a trailblazing career built on boldness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.
"When you ignore huge sections 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 since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider."
Contrary to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including openly discussed periods of depression and substance use.
He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be defined narrowly has propelled him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he states.
This project itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions.
What would the Edward of the 90s make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
