Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."
Shifting Attitudes
This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, today a different political personality looms as a possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art.
"Individuals with a platform should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will fade."
A New Wave of Consciousness
He draws solace in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."
Those early experiences would forge a pioneering career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".
"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."
In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has involved adversity, including well-documented battles with depression and substance use.
He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him away from the industry that made his name. He is now curating a major 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 creative cross-pollination – and spotlight those who weren't given a spotlight at the time.
"Galleries often failed to celebrate the most relevant talents because they weren't of the expected background," he comments.
The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of following your instincts.
What would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. 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 fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."