Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Perceived Regression
This regression is hard to ignore: the rise of populist movements, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political figure stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from art.
"People with a voice should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."
The Younger Generation's Awareness
He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a groundbreaking career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".
"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."
In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including publicly shared periods of depression and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be defined narrowly has led him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.
"Galleries didn't always shine a light on the right artists because they lacked the traditional credentials," he states.
This project itself functions with a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of following your instincts.
How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."