Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.
According to Enninful, the solution has long been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.
"Individuals with a platform should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this period will pass."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would shape a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man 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 all walks of life. Critically, sales grew.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Beyond the Magazine World
He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."
Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including well-documented struggles with depression and substance use.
He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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."
A Foray into Curation
This refusal to fit into a box has propelled him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.
"The establishment sometimes neglected to promote the right artists because they did not have the expected background," he comments.
This venture itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he believes, is a proof to the power of pursuing your passions.
What would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
