Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This change is difficult to overlook: the rise of far-right politics, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from politics.
"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."
His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".
"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."
Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including publicly shared battles with mental health and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be typecast has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.
"The establishment often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he comments.
The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he believes, is a testament to the power of defying expectations.
How would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."