Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the height of the Young British Artists – 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 miss that energy."
If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This shift is increasingly evident: the rise of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a different political personality looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.
For Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from politics.
"People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this period will pass."
A New Wave of Consciousness
He finds hope in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."
His formative years would shape a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."
Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of hardship, including publicly shared struggles with mental health and substance use.
He has also endured significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, 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 confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has inspired him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"Institutions often failed to promote the most relevant talents because they lacked the right pedigree," he observes.
This project itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.
How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."
He adds. "Nothing is assumed. We lost our home, we left our homeland. 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."
