The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This regression is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of national pride, has sparked debate once more.
In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from art.
"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would define a trailblazing career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has recently launched his new venture 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’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to 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 stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of hardship, including well-documented periods of mental health and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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."
Curating a Cultural Era
This determination to be defined narrowly has inspired him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.
"Galleries often failed to celebrate the right artists because they lacked the right pedigree," he states.
This project itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of following your instincts.
How would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
