Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."
While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This regression is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics.
"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this moment will fade."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."
Those early experiences would forge a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.
"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."
In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including publicly shared periods of mental health and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be typecast has inspired him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.
"Institutions sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he observes.
This venture itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most influential cultural influencers. His story, he states, is a testament to the power of following your instincts.
What would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. 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."