Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "In my view, 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 regression is difficult to overlook: the rise of populist movements, the pushback against progressive values, and the return of traditional beauty standards. In place of the optimism of the Blair era, today a more divisive political figure appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.
For Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.
"Individuals with a platform should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will fade."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."
The beginnings of his career would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.
"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".
"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."
Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed periods of depression and substance use.
He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 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 drive to be defined narrowly has led him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.
"Institutions often failed to shine a light on the most relevant talents because they lacked the right pedigree," he states.
The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a testament to the power of defying expectations.
How would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
