Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This change is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.
According to Enninful, the response has consistently been to champion culture in all its variety. 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 wide range of influential figures from literature.
"People with a voice should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."
Hope in the Next Generation
He draws solace in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."
His formative years would define a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.
"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."
Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of hardship, including publicly shared battles with depression and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, 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 passes, 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."
The Tate Britain Exhibition
This drive to be typecast has led him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.
"Institutions often failed to celebrate the most relevant talents because they did not have the traditional credentials," he observes.
This project itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.
How would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
