Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This shift is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the antidote 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 snapshot of modern Britain, including a diverse array of cultural icons from music.
"Individuals with a platform should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will fade."
A New Wave of Consciousness
He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
His formative years would forge a trailblazing career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim 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 doctors, the attorneys, the leader. 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 harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including openly discussed battles with depression and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place 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 thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be defined narrowly has inspired him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.
"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.
This project itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a demonstration to the power of following your instincts.
How would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."