The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
Although Enninful appears wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from literature.
"Those in a position of influence should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will end."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."
Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.
Launching a Creative Venture
He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."
Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of hardship, including well-documented struggles with depression and substance use.
He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 figure in fashion."
A Foray into Curation
This drive to fit into a box has led him outside the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.
"The establishment didn't always promote the truly innovative creators because they did not have the expected background," he comments.
This venture itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a proof to the power of pursuing your passions.
How would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost 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 made up my mind to do something."