Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This change is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.
In Enninful's view, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from art.
"Individuals with a platform should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."
The Younger Generation's Awareness
He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
The beginnings of his career would forge a groundbreaking career marked by fearlessness and representation. Enninful broke barriers 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 tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.
"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. 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 unique perspective both an insider and outsider."
Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including publicly shared periods of mental health and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to fit into a box has propelled him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"Galleries sometimes neglected to promote the right artists because they lacked the right pedigree," he states.
This venture itself functions with a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential cultural influencers. His path, he states, is a proof to the power of defying expectations.
What would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."
He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."
