Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Perceived Regression
This shift is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the previous decade, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again.
For Enninful, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from literature.
"Individuals with a platform should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end."
Hope in the Next Generation
He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."
Those early experiences would define a trailblazing career characterised by 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 tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.
"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.
Beyond the Magazine World
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority 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 stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including openly discussed battles with mental health and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to be defined narrowly has inspired him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Institutions often failed to celebrate the right artists because they lacked the right pedigree," he observes.
This project itself operates on a novel strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of defying expectations.
How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
