The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This shift is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a different political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.
According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from art.
"Those in a position of influence should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this period will end."
The Younger Generation's Awareness
He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."
His formative years would forge a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor".
"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."
Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including well-documented periods of depression and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to fit into a box has inspired him beyond the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.
"Galleries sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he states.
The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of defying expectations.
How would the Edward of the 90s make of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."