Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the height of the YBA movement – 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 kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This regression is hard to ignore: the rise of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the response has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music.
"Individuals with a platform should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will end."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."
The beginnings of his career would define a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.
"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."
Contrary to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including well-documented battles with depression and addiction.
He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has propelled him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.
"Galleries often failed to shine a light on the most relevant talents because they did not have the right pedigree," he comments.
This project itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of following your instincts.
How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
