Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This shift is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a different political force stands as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.
In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.
"Individuals with a platform should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".
"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including well-documented periods of mental health and addiction.
He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to fit into a box has propelled him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.
"Institutions sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he comments.
This venture itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of defying expectations.
What would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."
He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
