Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the peak of the Young British Artists – 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 close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, today a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.
For Enninful, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from politics.
"Individuals with a platform should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."
His formative years would shape a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has involved adversity, including openly discussed struggles with mental health and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable 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 limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be defined narrowly has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"The establishment sometimes neglected to celebrate the right artists because they did not have the expected background," he states.
The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of defying expectations.
How would the Enninful of that era make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
