The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Perceived Regression
This change is hard to ignore: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.
For Enninful, the response has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.
"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."
The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales grew.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His life has included its share of hardship, including openly discussed periods of depression and addiction.
He has also undergone serious 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, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be typecast has inspired him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.
"Galleries didn't always shine a light on the right artists because they lacked the expected background," he states.
The magazine 72 itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a testament to the power of following your instincts.
What would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
