Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.
According to Enninful, the response has always 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 snapshot of modern Britain, including a broad spectrum of prominent faces from music.
"Individuals with a platform should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will end."
A New Wave of Consciousness
He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."
His formative years would forge a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.
"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including openly discussed battles with depression and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. 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 do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.
"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he observes.
This venture itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."