Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting 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 quickly drawn into the city's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the zenith 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 understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."
If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the growth of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
For Enninful, the response has long been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from politics.
"Those in a position of influence should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust 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 analyse systemic issues – I didn't even know what that was."
Those early experiences would define a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales increased.
"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being between worlds."
Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented struggles with depression and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be defined narrowly has propelled him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.
"Institutions sometimes neglected to promote the most relevant talents because they lacked the expected background," he observes.
This venture itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of following your instincts.
What would the Enninful of that era make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
