The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That era was the peak of the Young British Artists – 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 close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
Shifting Attitudes
This regression is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.
According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from art.
"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass."
Hope in the Next Generation
He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."
Those early experiences would forge a trailblazing career built on fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to challenges, including openly discussed struggles with depression and addiction.
He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.
"Galleries didn't always celebrate the right artists because they lacked the expected background," he observes.
This venture itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a proof to the power of following your instincts.
How would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
