The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is difficult to overlook: the growth of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.
According to Enninful, the solution has always been to champion 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 portrait of modern Britain, showcasing a wide range of influential figures from art.
"Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass."
A New Wave of Consciousness
He finds hope in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."
Those early experiences would forge a pioneering career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.
"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective on the inside and the outside."
Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to hardship, including well-documented struggles with depression and addiction.
He has also faced significant 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, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 determination to be typecast has propelled him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he states.
The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."
A Testament to Resilience
Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of following your instincts.
What would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."
