Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This shift is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.
For Enninful, the antidote has long been to champion 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 wide range of influential figures from politics.
"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."
Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful broke barriers 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 diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.
"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of challenges, including publicly shared battles with depression and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to fit into a box has propelled him beyond the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.
"Institutions didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he states.
This venture itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of following your instincts.
How would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."
