Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
Although Enninful appears wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This regression is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the return of narrow beauty standards. In place of the optimism of the late 90s, now a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from politics.
"Individuals with a platform should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was 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 phase will end."
Hope in the Next Generation
He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."
Those early experiences would define a pioneering career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.
"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."
In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed struggles with mental health and substance use.
He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 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 limit myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be defined narrowly has inspired him outside the realm that built his career. 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 says, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.
"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the right pedigree," he comments.
The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Now, Enninful operates as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of defying expectations.
What would the younger Edward make of the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."
