Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This regression is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.
For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from literature.
"Those in a position of influence should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will pass."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."
Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".
"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."
Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including openly discussed struggles with mental health and addiction.
He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to fit into a box has propelled him outside the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.
"Institutions didn't always promote the most relevant talents because they weren't of the right pedigree," he observes.
The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
A Testament to Resilience
Today, Enninful operates as one of the world's most powerful cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.
How would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."
