The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That era was the peak of the Britart scene ā Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood weād be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I feel, weāre less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country ā itās a global phenomenon."
Shifting Attitudes
This regression is hard to ignore: the growth of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
For Enninful, the antidote has always been to promote 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 portrait of modern Britain, featuring a diverse array of cultural icons from art.
"Those in a position of influence should use it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. Thatās the Britain I believed in. I hope this moment will fade."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice ā I was not even aware what that was."
The beginnings of his career would forge a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"To overlook vast segments of the population, itās more than that youāre excluding people ā itās commercially unwise," he explains.
Beyond the Magazine World
He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm ā the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted Iād never amount to anything. Me and my brothers were subject to police stops the suspicion laws ā¦ those experiences gave me a dual identity on the inside and the outside."
Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including publicly shared struggles with depression and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. Itās comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, Iām just going to pursue all that I was so fearful to do. Iām not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This determination to fit into a box has led him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy ā and highlight those who weren't given adequate attention at the time.
"The establishment often failed to promote the most relevant talents because they weren't of the right pedigree," he states.
This project itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era think of the his current self? He chuckles. "Heād be in shock, but heād be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once Iāve made up my mind to do something."
