Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This change is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.
According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics.
"People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."
His formative years would define a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.
"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."
In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including openly discussed struggles with mental health and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, terrified 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 embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to fit into a box has led him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.
"The establishment sometimes neglected to promote the truly innovative creators because they lacked the expected background," he comments.
This project itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."