Edward Enninful: From Tube Scout to Cultural Disruptor
A chance encounter on the London Underground in 1988 irrevocably altered the course of Edward Enninful’s life, launching a career that has redefined inclusivity and creativity in the fashion world and beyond. The Ghanaian teenager, newly arrived in Britain, was quickly drawn into the vibrant artistic scene of the 1990s, initially as a model, then as a stylist, and by the age of 18, he ascended to the role of fashion director at i-D magazine.
The Raw Energy of 90s London
“It was the height of the YBA [Young British Artists] movement – Jay Jopling, Tracey Emin,” Enninful recalls, evoking a period of intense artistic experimentation. “I met Kate [Moss] at a casting,” he continued, “Then Naomi [Campbell] for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness.” This era, characterized by its uninhibited energy and cross-pollination of ideas, profoundly shaped Enninful’s aesthetic and collaborative spirit.
A Shifting Tide of Tolerance
While nostalgia for the 1990s is currently at a fever pitch, Enninful believes a crucial element has been lost in recent decades. “I feel like we’re less tolerant now than we were in the 90s,” he observes, a sentiment that extends beyond the UK to a global trend. The rise of the far right, backlash against progressive movements, and a resurgence of Eurocentric beauty standards are all indicative of this regression. The optimism associated with the Tony Blair era has given way to the looming presence of figures like Nigel Farage, and even the Union Jack, once a symbol of “Cool Britannia,” has become a point of contention.
Celebrating Diversity as a Countermeasure
For Enninful, the answer to this shift lies in a steadfast commitment to celebrating culture in all its diversity. This principle guided his inaugural issue as editor of British Vogue in 2017, a groundbreaking portrait of modern Britain featuring prominent figures like Sadiq Khan, Skepta, Steve McQueen, and Zadie Smith. “People with a voice should use it,” he asserts, emphasizing the power of editorial choices to reflect and shape society. He acknowledges his own journey, stating, “Everyone talks about immigration, I wouldn’t be here if Britain hadn’t been a lenient country, if it hadn’t given my family a home and an education. That’s the Britain I always loved. I hope this moment will pass.”
A New Generation’s Awareness
Enninful finds solace in the heightened awareness of the younger generation. “They’re much more aware than we were,” he notes. “They talk about unconscious bias – I didn’t even know what that was.” This increased sensitivity to issues of equity and inclusion offers a glimmer of hope for a more tolerant future.
From Vogue to EE72 and Beyond
Enninful’s impact extended beyond Vogue, where he became the first man, Black man, gay man, and disabled gay man of color to take the helm. His tenure was marked by a deliberate effort to showcase a wider range of faces and bodies on its pages – models of color, plus-size women, octogenarians, women in hijabs, and individuals with Down’s syndrome, among others – a strategy that demonstrably increased sales. “When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business,” he explains.
Following his departure from Condé Nast, Enninful launched his creative company, EE72, and its accompanying magazine, 72, signaling a new chapter in his career as a “disruptor.” He describes this role as a lifelong questioning of the status quo, rooted in his own experiences growing up in a predominantly Black community in Ghana before facing discrimination as a minority in England. “I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police under the Sus laws … all that gave me a duality, a sense of being on the inside and the outside.”
Resilience and Reinvention
Despite his outward composure, Enninful has faced significant personal challenges, including battles with depression and a 14-year journey through Alcoholics Anonymous. He has also undergone six eye operations, resulting in partial sight. “I was in such a dark place for two years, not working, fearing I was going to go blind,” he shares, describing the experience as akin to PTSD. “It’s the same as PTSD, you just live in fear 24/7. I thought God, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person.”
Curating Culture and Challenging Institutions
This refusal to be confined by expectations has led Enninful to embrace new roles, including curating Tate Britain’s upcoming exhibition on the 1990s. The show will feature work by Juergen Teller, Nick Knight, David Sims, Corinne Day, Damien Hirst, Gillian Wearing, and Yinka Shonibare, among others, with a focus on capturing the decade’s creative cross-pollination and highlighting artists who were previously overlooked. “Institutions didn’t always shine a light on the right artists because they weren’t of the right pedigree.” He previously curated a Robert Mapplethorpe show in Paris and hosted 90s-themed talks at Art Basel, further solidifying his role as a cultural tastemaker.
A Collaborative Ecosystem
72 magazine distinguishes itself through a collaborative business model, eschewing traditional advertising in favor of partnerships. At a recent launch event, guests were able to virtually try on a Moncler capsule designed by Enninful using Google technology. “We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem.” He believes this model could be applied to cash-strapped museums and galleries, offering a new path to sustainability.
Enninful also played a key role in organizing the British Museum’s inaugural ball, a fundraising event that raised £2.5 million. “Nicholas [Cullinan, the British Museum director] called and said ‘I want to do something to help not just the museum, but also the country’.”
A Creative Power Broker
Today, Enninful is a globally influential creative force, with a network that includes Julia Roberts, Gwyneth Paltrow, and Oprah Winfrey. His company employs 25 people across London and New York, with plans for expansion into podcasts and film. He maintains a positive relationship with Anna Wintour, despite previous reports of tension.
Enninful’s journey is a testament to the power of pursuing one’s passions. After dropping out of Goldsmiths, University of London, to model, he experienced a 15-year estrangement from his father, a former military major in Ghana, but they later reconciled. His father even danced with Madonna at the afterparty following Enninful’s OBE ceremony. His late mother, a seamstress, instilled in him a love of fashion and a relentless curiosity.
Looking back, Enninful reflects on how the young man he was in the 1990s would view his current success. “He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn’t think institutions like Tate were necessarily for me.” He pauses, adding with conviction, “I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn’t an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something.”
