Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met 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 spontaneity."
If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This change is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the return of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political personality stands as a possible leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.
According to Enninful, the solution has always been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from politics.
"People with a voice should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."
A New Wave of Consciousness
He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."
Those early experiences would define a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".
"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. 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 dual identity on the inside and the outside."
Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including publicly shared battles with depression and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, 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 pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has propelled him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.
"Institutions often failed to celebrate the right artists because they weren't of the right pedigree," he states.
This venture itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most respected industry leaders. His story, he believes, is a demonstration to the power of defying expectations.
How would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
