Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This shift is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics.
"Those in a position of influence should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."
The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.
"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."
In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including well-documented battles with depression and substance use.
He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to be defined narrowly has led him beyond the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.
"Institutions sometimes neglected to celebrate the right artists because they lacked the right pedigree," he comments.
This project itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of following your instincts.
What would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."