The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This shift is increasingly evident: the rise of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a different political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from politics.
"People with a voice should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."
A New Wave of Consciousness
He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."
The beginnings of his career would define a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of challenges, including publicly shared struggles with depression and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to be defined narrowly has led him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.
"Institutions often failed to promote the most relevant talents because they weren't of the expected background," he comments.
The magazine 72 itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of following your instincts.
How would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."
