Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
Shifting Attitudes
This change is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political figure looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.
For Enninful, the antidote has always been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature.
"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life 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 trust this period will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."
The beginnings of his career would forge a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity 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 not been immune to hardship, including openly discussed battles with mental health and substance use.
He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has led him beyond the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.
"Galleries often failed to promote the right artists because they lacked the right pedigree," he comments.
The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.
What would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."
He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."