Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Perceived Regression
This change is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, today a different political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.
According to Enninful, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.
"Individuals with a platform should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade."
The Younger Generation's Awareness
He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."
The beginnings of his career would define a trailblazing career built on boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.
"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".
"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."
Defying the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including publicly shared battles with mental health and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to fit into a box has inspired him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked due recognition at the time.
"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he states.
This venture itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Now, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of pursuing your passions.
How would the younger Edward make of the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
