Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This regression is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a more divisive political figure appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.
In Enninful's view, the antidote has always been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.
"Those in a position of influence should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.
"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.
Beyond the Magazine World
He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".
"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."
In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including openly discussed struggles with mental health and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified 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 embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to fit into a box has inspired him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.
"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.
The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of pursuing your passions.
What would the Edward of the 90s react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
