The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This regression is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, currently a different political figure appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.
In Enninful's view, the solution has consistently been to champion 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 diverse array of influential figures from art.
"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "Everyone talks 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 always loved. I trust this moment will fade."
Hope in the Next Generation
He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."
The beginnings of his career would forge a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.
"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".
"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."
Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has involved adversity, including well-documented battles with depression and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to fit into a box has propelled him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"Galleries didn't always celebrate the truly innovative creators because they did not have the right pedigree," he observes.
This project itself operates on a different approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Now, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a testament to the power of following your instincts.
What would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
