Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."
If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This shift is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.
In Enninful's view, the antidote has always been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics.
"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
His formative years would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales rose.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".
"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."
Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of challenges, including publicly shared battles with mental health and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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."
Curating a Cultural Era
This refusal to be typecast has propelled him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.
"Institutions often failed to shine a light on the truly innovative creators because they did not have the right pedigree," he states.
This project itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
