Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
While Enninful may seem sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.
In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from politics.
"Those in a position of influence should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will fade."
Hope in the Next Generation
He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."
His formative years would shape a pioneering career built on boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.
Launching a Creative Venture
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."
Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His journey has involved adversity, including well-documented battles with depression and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be defined narrowly has led him outside the industry that made his name. 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 evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.
"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments.
This venture itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of defying expectations.
How would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly 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."