Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. 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 mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This regression is increasingly evident: the rise of populist movements, the pushback against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, currently a more divisive political force appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.
For Enninful, the antidote 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 portrait of modern Britain, featuring a diverse array of prominent faces from music.
"Those in a position of influence should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this phase will fade."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."
His formative years would forge a trailblazing career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.
"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the status quo. I was born and 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 declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."
In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has involved challenges, including publicly shared struggles with depression and substance use.
He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear 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 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 fashion person."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to 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 right pedigree," he comments.
The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Today, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.
How would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
