Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the zenith 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 miss that rawness."
If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This shift is increasingly evident: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from literature.
"Individuals with a platform should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will fade."
A New Wave of Consciousness
He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."
The beginnings of his career would define a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales grew.
"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved challenges, including openly discussed battles with depression and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. 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 pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to fit into a box has inspired him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.
"Galleries didn't always shine a light on the right artists because they weren't of the traditional credentials," he states.
The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of defying expectations.
What would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
