Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "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 in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This regression is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the late 90s, currently a different political personality looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.
For Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the driving force behind his seminal 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 asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will end."
Hope in the Next Generation
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
The beginnings of his career would forge a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."
In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of adversity, including openly discussed battles with mental health and addiction.
He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to fit into a box has inspired him away from the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.
"Galleries didn't always shine a light on the right artists because they weren't of the right pedigree," he comments.
The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Currently, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of following your instincts.
What would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."