Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This change is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of narrow beauty standards. Replacing the optimism of the Blair era, now a different political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.
In Enninful's view, the solution has long been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from art.
"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."
The beginnings of his career would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to hardship, including well-documented periods of depression and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be defined narrowly has led him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.
"The establishment sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he observes.
This project itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of defying expectations.
How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."
