Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."
If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This change is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
According to Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from art.
"Individuals with a platform should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."
A New Wave of Consciousness
He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."
The beginnings of his career would shape a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.
"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to hardship, 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 partial sight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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."
The Tate Britain Exhibition
This determination to be typecast has propelled him beyond the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.
"Galleries often failed to celebrate the truly innovative creators because they did not have the right pedigree," he observes.
This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of defying expectations.
What would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."