Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the peak 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 rolled into Saturday into Sunday. I miss that rawness."
Although Enninful appears wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
A Perceived Regression
This shift is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.
According to Enninful, the response 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 portrait of modern Britain, showcasing a broad spectrum of influential figures from politics.
"People with a voice should use it," he comments, explaining 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 refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."
His formative years would define a trailblazing career built on fearlessness and representation. Enninful broke barriers 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 time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police 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 highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed periods of depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. 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 do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal 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 host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.
"Galleries often failed to promote the most relevant talents because they did not have the right pedigree," he states.
This venture itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of following your instincts.
What would the younger Edward make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
