Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met 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 rawness."
While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This change is hard to ignore: the rise of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. 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 broad spectrum of cultural icons from art.
"People with a voice should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."
The Younger Generation's Awareness
He draws solace in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."
The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.
"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".
"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."
In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of adversity, including well-documented struggles with mental health and substance use.
He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing 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 embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This determination to fit into a box has led him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.
"Galleries sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he comments.
The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of following your instincts.
What would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."