Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This change is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political force stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.
For Enninful, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music.
"Those in a position of influence should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will fade."
A New Wave of Consciousness
He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."
The beginnings of his career would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.
"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 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 conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of adversity, including well-documented battles with mental health and substance use.
He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be typecast has led him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.
"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he states.
This venture itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of defying expectations.
How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
