The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
Shifting Attitudes
This regression is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political figure appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the antidote has long been to promote culture in all its diversity. 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 prominent faces from music.
"Individuals with a platform should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will fade."
A New Wave of Consciousness
He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."
His formative years would shape a trailblazing career built on boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.
"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."
In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to adversity, including openly discussed periods of depression and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 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 confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to fit into a box has propelled him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.
"Institutions didn't always celebrate the right artists because they weren't of the traditional credentials," he observes.
This project itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.
How would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
