Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This regression is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
For Enninful, the solution has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music.
"People with a voice should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will end."
A New Wave of Consciousness
He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."
The beginnings of his career would forge a pioneering career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.
"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."
Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved challenges, including publicly shared struggles with depression and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. 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 scared 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 fit into a box has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.
"Institutions sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he states.
This project itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of following your instincts.
What would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "I never take anything for granted. We lost our home, 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 decided to do something."
