Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This shift is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark 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.
"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will end."
The Younger Generation's Awareness
He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."
Those early experiences would define a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."
Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved hardship, including publicly shared struggles with mental health and addiction.
He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.
"Institutions sometimes neglected to promote the right artists because they did not have the traditional credentials," he states.
This venture itself uses a different strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."