The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This regression is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political personality stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.
For Enninful, the antidote has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from music.
"People with a voice should wield it," he comments, 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 did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."
The Younger Generation's Awareness
He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."
His formative years would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
Launching a Creative Venture
He has established 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’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."
In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including openly discussed battles with depression and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, anxious 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 ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has led him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.
"Galleries often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he states.
This venture itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of defying expectations.
What would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."