Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This change is increasingly evident: the resurgence of far-right politics, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, now a different political figure stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.
For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from music.
"Individuals with a platform should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."
Hope in the Next Generation
He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."
His formative years would forge a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.
"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. 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 everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
Defying the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His life has not been immune to challenges, including publicly shared periods of mental health and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has propelled him beyond the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.
"The establishment didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he observes.
This project itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.
What would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "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 nothing can stop me once I’ve made up my mind to do something."