Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This regression is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.
According to Enninful, the antidote has always been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.
"Those in a position of influence should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."
Hope in the Next Generation
He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
Those early experiences would define a pioneering career built on boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
Launching a Creative Venture
He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour 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 brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."
Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of hardship, including well-documented periods of depression and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This determination to fit into a box has propelled him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.
"Institutions didn't always promote the truly innovative creators because they did not have the expected background," he observes.
The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a proof to the power of following your instincts.
How would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."