Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This shift is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, today a different political personality stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.
For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from politics.
"Those in a position of influence should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will pass."
The Younger Generation's Awareness
He takes comfort in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."
The beginnings of his career would shape a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
Beyond the Magazine World
He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."
Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including openly discussed struggles with mental health and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be defined narrowly has led him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.
"The establishment didn't always shine a light on the right artists because they weren't of the traditional credentials," he states.
This project itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."
An Unstoppable Drive
Now, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of following your instincts.
What would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."
He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."