Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That era was the height of the YBA movement – 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 kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political force looms as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.
For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from literature.
"People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."
His formative years would shape a pioneering career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.
"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."
Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including openly discussed struggles with mental health and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be defined narrowly has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.
"Galleries didn't always shine a light on the most relevant talents because they weren't of the expected background," he comments.
This venture itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of defying expectations.
What would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."