Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
While Enninful may seem sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This change is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Replacing the optimism of the Blair era, today a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.
In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art.
"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."
The Younger Generation's Awareness
He finds hope in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."
His formative years would define a pioneering career characterised by boldness and inclusivity. Enninful broke barriers 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 tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Launching a Creative Venture
He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."
Contrary to the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of challenges, including publicly shared struggles with depression and addiction.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be typecast has propelled him away from the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.
"The establishment sometimes neglected to celebrate the right artists because they lacked the expected background," he states.
This project itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of defying expectations.
How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."
