Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This shift is hard to ignore: the rise of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, now a different political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.
According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music.
"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this period will end."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."
His formative years would forge a trailblazing career characterised by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".
"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."
Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has included its share of hardship, including publicly shared battles with mental health and substance use.
He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, terrified 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 figure in fashion."
The Tate Britain Exhibition
This drive to fit into a box has propelled him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.
This venture itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of defying expectations.
What would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
