Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.
In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from politics.
"Those in a position of influence should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will pass."
A New Wave of Consciousness
He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."
His formative years would shape a trailblazing career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with mental health and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 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 fashion person."
A Foray into Curation
This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing 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.
"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the right pedigree," he comments.
This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
