Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Perceived Regression
This regression is difficult to overlook: the growth of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political force stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from art.
"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."
Those early experiences would define a pioneering career built on boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of adversity, including publicly shared periods of depression and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, 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 figure in fashion."
Curating a Cultural Era
This determination to be defined narrowly has led him outside the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.
"Galleries didn't always promote the right artists because they lacked the right pedigree," he states.
This project itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of following your instincts.
How would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."