Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That era was the zenith 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 kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Perceived Regression
This regression is increasingly evident: the growth of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.
According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature.
"Those in a position of influence should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this phase will pass."
A New Wave of Consciousness
He finds hope in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."
Those early experiences would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."
Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including well-documented periods of mental health and substance use.
He has also endured significant health issues, having had multiple operations 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 comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be defined narrowly has inspired him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.
"Galleries often failed to celebrate the most relevant talents because they lacked the right pedigree," he states.
This project itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Currently, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a proof to the power of following your instincts.
How would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
