Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This shift is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.
In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. 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 broad spectrum of influential figures from music.
"Individuals with a platform should wield it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will end."
A New Wave of Consciousness
He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."
Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".
"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, 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 suspicion laws … those experiences gave me a sense of being on the inside and the outside."
Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of challenges, including openly discussed battles with mental health and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 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 restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be defined narrowly has led him outside the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.
"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he observes.
This project itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of defying expectations.
What would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."