Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a different political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.
For Enninful, the antidote has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature.
"People with a voice should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."
The beginnings of his career would forge a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."
In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including well-documented battles with depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Galleries didn't always celebrate the right artists because they weren't of the expected background," he comments.
This project itself operates on a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Today, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a testament to the power of following your instincts.
What would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."