Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, 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 encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This regression is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political force appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.
According to Enninful, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from literature.
"Those in a position of influence should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will fade."
A New Wave of Consciousness
He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."
Those early experiences would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers 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 people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew.
"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Beyond the Magazine World
He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."
Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including openly discussed struggles with mental health and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to fit into a box has propelled him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.
"The establishment sometimes neglected to promote the most relevant talents because they weren't of the expected background," he observes.
The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a proof to the power of pursuing your passions.
What would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
