Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"It was the zenith of the YBA movement – 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 socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political personality looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.
For Enninful, the solution has long been to promote 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 celebration of modern Britain, showcasing a broad spectrum of influential figures from art.
"Individuals with a platform should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will fade."
A New Wave of Consciousness
He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."
His formative years would shape a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including openly discussed struggles with depression and addiction.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has led him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.
"Institutions often failed to shine a light on the right artists because they weren't of the traditional credentials," he observes.
This project itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of following your instincts.
What would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."