Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This regression is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, currently a different political force stands as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.
In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from politics.
"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will end."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."
Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.
"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."
Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed battles with mental health and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has propelled him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.
"Galleries sometimes neglected to promote the right artists because they lacked the traditional credentials," he states.
This project itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of following your instincts.
What would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
