Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, now a different political force appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.
For Enninful, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.
"Those in a position of influence should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will end."
The Younger Generation's Awareness
He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."
The beginnings of his career would define a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including publicly shared struggles with mental health and addiction.
He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period 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 limit myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him away from the realm that built his career. He is now curating 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 give platform to those who did not receive a spotlight at the time.
"Institutions didn't always celebrate the truly innovative creators because they lacked the expected background," he states.
This venture itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of defying expectations.
How would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."