Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This regression is increasingly evident: the rise of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, today a different political figure appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.
For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from art.
"Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will fade."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."
The beginnings of his career would define a trailblazing career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".
"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including publicly shared struggles with mental health and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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."
The Tate Britain Exhibition
This drive to be typecast has led him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.
"Institutions often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he comments.
This venture itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.
How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."
He pauses. "Gratitude is key. We fled, 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 set my intention to do something."
