Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a different political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
For Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from art.
"Individuals with a platform should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."
A New Wave of Consciousness
He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."
The beginnings of his career would forge a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".
"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of hardship, including publicly shared struggles with depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, 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."
The Tate Britain Exhibition
This determination to be typecast has inspired him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.
"Institutions often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.
This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.
How would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
