The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the zenith 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 great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This change is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political force stands as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.
For Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from politics.
"Individuals with a platform should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will end."
The Younger Generation's Awareness
He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."
Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful made history 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 landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".
"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including well-documented periods of depression and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, fearing 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 scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.
"The establishment didn't always shine a light on the most relevant talents because they did not have the expected background," he observes.
The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Now, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a testament to the power of pursuing your passions.
How would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "Gratitude is key. We fled, we left our homeland. 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 made up my mind to do something."