Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This change is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.
In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.
"Those in a position of influence should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."
Those early experiences would forge a pioneering career marked by boldness and diversity. 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 models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Beyond the Magazine World
He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".
"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has involved challenges, including well-documented struggles with mental health and addiction.
He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "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 vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be defined narrowly has propelled him away from the realm that established him. 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 explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"Galleries often failed to shine a light on the truly innovative creators because they weren't of the expected background," he states.
This project itself functions with a unique business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Today, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a proof to the power of pursuing your passions.
What would the younger Edward make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
