Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears wistful, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This regression is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, today a different political personality appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.
In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from politics.
"People with a voice should use it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this phase will fade."
A New Wave of Consciousness
He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."
The beginnings of his career would shape a pioneering career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".
"I’ve always questioned 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 arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."
Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has involved hardship, including openly discussed struggles with depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 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 fashion person."
A Foray into Curation
This drive to be defined narrowly has led him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"The establishment sometimes neglected to celebrate the right artists because they weren't of the expected background," he states.
This venture itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of defying expectations.
What would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."
