Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This shift is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.
"Those in a position of influence should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would forge a pioneering career built on boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".
"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."
Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including openly discussed struggles with depression and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period 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 prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.
"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the expected background," he comments.
The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
A Testament to Resilience
Currently, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of following your instincts.
How would the younger Edward make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly 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."
