Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This regression is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, now a more divisive political figure looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.
According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from politics.
"Those in a position of influence should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this moment will end."
A New Wave of Consciousness
He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."
His formative years would shape a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.
"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker".
"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."
Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including well-documented struggles with depression and addiction.
He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be typecast has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"Institutions often failed to promote the truly innovative creators because they did not have the expected background," he states.
This venture itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era think of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."
He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
