The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.
For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from art.
"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this moment will fade."
A New Wave of Consciousness
He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."
The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".
"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."
Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including publicly shared periods of depression and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be typecast has inspired him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.
"Institutions often failed to celebrate the most relevant talents because they did not have the right pedigree," he observes.
The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of defying expectations.
What would the Edward of the 90s react to the Edward of today? He chuckles. "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 a place for someone like me."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
