Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That era was the zenith 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 great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political force stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.
In Enninful's view, the response has always been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from art.
"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this moment will pass."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."
Those early experiences would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," 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 former post. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."
Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has involved challenges, including openly discussed struggles with depression and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful 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 typecast has led him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.
"The establishment often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.
The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of defying expectations.
How would the younger Edward make of the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."