Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.
According to Enninful, the solution has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.
"Individuals with a platform should use it," he says, 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 home and an education. That’s the Britain I always loved. I believe this period will end."
Hope in the Next Generation
He draws solace in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."
His formative years would shape a trailblazing career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.
"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including publicly shared periods of depression and substance use.
He has also undergone serious 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, away from work, fearing 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 is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be defined narrowly has inspired him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.
"Galleries often failed to promote the right artists because they weren't of the expected background," he states.
This venture itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, 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 stands as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.
What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."