Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This change is hard to ignore: the rise of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, currently a different political force appears as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.
According to Enninful, the response has always been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from art.
"People with a voice should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will fade."
The Younger Generation's Awareness
He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would shape a pioneering career marked by fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.
Beyond the Magazine World
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".
"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds."
Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including openly discussed struggles with depression and substance use.
He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.
"The establishment often failed to shine a light on the truly innovative creators because they weren't of the expected background," he states.
This venture itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Today, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of pursuing your passions.
How would the Enninful of that era react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."
He reflects. "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 underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."