Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This change is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political personality stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the antidote has long been to promote 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 wide range of cultural icons from literature.
"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass."
A New Wave of Consciousness
He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would define a trailblazing career marked by boldness 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 people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including publicly shared struggles with mental health and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. 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 pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be defined narrowly has led him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.
"The establishment sometimes neglected to celebrate the most relevant talents because they did not have the right pedigree," he states.
This project itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Currently, Enninful stands 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 react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."