Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
An unexpected discovery 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 city's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This regression is increasingly evident: the resurgence of far-right politics, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.
For Enninful, the solution has always been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.
"Those in a position of influence should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."
The Younger Generation's Awareness
He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."
Those early experiences would define a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted 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 caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has involved challenges, including openly discussed struggles with mental health and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be typecast has inspired him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.
"Institutions often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he observes.
This project itself functions with a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of following your instincts.
What would the Enninful of that era think of the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."