Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation 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 observes. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the late 90s, today a different political personality appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.
According to Enninful, the antidote has always been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature.
"People with a voice should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this moment will end."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know 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 man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."
Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has not been immune to challenges, including well-documented struggles with mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be typecast has propelled him beyond the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.
"Institutions didn't always celebrate the right artists because they lacked the right pedigree," he states.
The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of defying expectations.
What would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."
He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
