Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, currently a different political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.
For Enninful, the solution has consistently 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 celebration of modern Britain, featuring a diverse array of influential figures from art.
"People with a voice should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."
Those early experiences would shape a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.
Launching a Creative Venture
He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."
Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including openly discussed periods of depression and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be defined narrowly has led him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.
"Institutions often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.
This project itself operates on a novel approach, 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 greater ecosystem."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."
He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."
