The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, today a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.
In Enninful's view, the antidote has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature.
"Individuals with a platform should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."
Hope in the Next Generation
He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
The beginnings of his career would shape a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider."
Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to adversity, including openly discussed struggles with mental health and addiction.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be defined narrowly has propelled him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.
"Galleries often failed to promote the right artists because they weren't of the expected background," he states.
This venture itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."
