Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."
While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This change is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.
According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.
"People with a voice should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this period will pass."
Hope in the Next Generation
He finds hope in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."
Those early experiences would define a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".
"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."
Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to hardship, including publicly shared periods of depression and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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 drive to be defined narrowly has led him outside the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.
"Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he observes.
This venture itself operates on a unique 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 a piece within a greater ecosystem."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.
What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
