The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Perceived Regression
This shift is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has always been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature.
"Individuals with a platform should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."
Those early experiences would forge a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.
"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".
"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider."
In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has involved hardship, including openly discussed struggles with depression and addiction.
He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, 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 figure in fashion."
The Tate Britain Exhibition
This drive to fit into a box has led him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.
"The establishment didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.
This venture itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions.
How would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We fled, we fled our country. 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 decided to do something."