Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This shift is difficult to overlook: the resurgence of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.
"Individuals with a platform should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will fade."
Hope in the Next Generation
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."
The beginnings of his career would forge a pioneering career marked by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "change-maker".
"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including publicly shared battles with depression and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, 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 fit into a box has inspired him away from the world that established him. 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 evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"Institutions didn't always shine a light on the truly innovative creators because they weren't of the expected background," he comments.
This venture itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations.
How would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
