Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "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 energy."
Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided 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 difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.
In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from music.
"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end."
The Younger Generation's Awareness
He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."
His formative years would define a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.
"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
Launching a Creative Venture
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."
In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of adversity, including openly discussed struggles with depression and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable 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."
A Foray into Curation
This determination to be typecast has led him outside the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.
"Galleries sometimes neglected to celebrate the truly innovative creators because they did not have the traditional credentials," he observes.
The magazine 72 itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Today, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of following your instincts.
How would the Edward of the 90s think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."