Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
According to Enninful, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from literature.
"Those in a position of influence should use it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will fade."
The Younger Generation's Awareness
He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."
Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of adversity, including publicly shared battles with mental health and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be defined narrowly has led him away from the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.
"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he comments.
This venture itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of pursuing your passions.
How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
