Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This change is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political figure appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
For Enninful, the antidote has long been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from art.
"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will fade."
The Younger Generation's Awareness
He draws solace in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."
Those early experiences would shape a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales rose.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project 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 born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."
In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including well-documented periods of depression and addiction.
He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to fit into a box has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.
"The establishment didn't always promote the most relevant talents because they did not have the expected background," he states.
The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.
How would the Edward of the 90s react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."