Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Perceived Regression
This regression is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political personality stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.
For Enninful, the antidote has consistently been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.
"Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass."
The Younger Generation's Awareness
He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."
His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the established norms. I was brought up 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 incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider."
Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including publicly shared battles with depression and substance use.
He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has propelled him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.
"Institutions sometimes neglected to promote the right artists because they weren't of the traditional credentials," he observes.
This project itself uses a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of defying expectations.
How would the Edward of the 90s make of the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."
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 entire life. But I am unstoppable once I’ve made up my mind to do something."
