Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"It was the height of the Young British Artists – 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 close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Perceived Regression
This shift is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.
For Enninful, the solution has consistently been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from art.
"Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope 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 discuss systemic issues – I was not even aware what that was."
His formative years would forge a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".
"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including openly discussed periods of depression and addiction.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity 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 refusal to be typecast has inspired him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.
"The establishment sometimes neglected to celebrate the right artists because they lacked the expected background," he comments.
This project itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of defying expectations.
How would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."