Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This shift is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, today a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.
In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from literature.
"People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will end."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would forge a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.
"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being both an insider and outsider."
In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed struggles with mental health and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be typecast has propelled him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"Galleries didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he states.
This project itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of defying expectations.
How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. 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 isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."