Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"It was the height 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 understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."
While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This change is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political force stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.
In Enninful's view, the solution has always been to celebrate 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 snapshot of modern Britain, featuring a wide range of cultural icons from politics.
"People with a voice should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will pass."
A New Wave of Consciousness
He finds hope in the next generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."
His formative years would define a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".
"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including openly discussed periods of mental health and substance use.
He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 figure in fashion."
The Tate Britain Exhibition
This determination to fit into a box has propelled him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.
"The establishment didn't always promote the most relevant talents because they lacked the right pedigree," he states.
The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Now, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.
What would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."