Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This shift is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, now a more divisive political personality looms as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.
According to Enninful, the response has long been to promote culture in all its diversity. 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 diverse array of prominent faces from music.
"People with a voice should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will pass."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.
"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."
In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of hardship, including openly discussed struggles with mental health and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to be typecast has led him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.
"The establishment sometimes neglected to promote the right artists because they did not have the right pedigree," he comments.
This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most powerful cultural influencers. His path, he believes, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."
He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
