Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That time was the height 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 close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.
In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from art.
"Individuals with a platform should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will pass."
A New Wave of Consciousness
He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."
Those early experiences would forge a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."
In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved challenges, including publicly shared battles with depression and addiction.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything 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 drive to be defined narrowly has led him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.
"Galleries sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he states.
The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful stands as one of the world's most respected creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions.
What would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."