Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, today a different political personality appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature.
"People with a voice should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
The beginnings of his career would define a pioneering career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.
"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to adversity, including openly discussed struggles with mental health and addiction.
He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, anxious 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 fearful 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 be defined narrowly has inspired him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.
"Institutions often failed to promote the most relevant talents because they weren't of the expected background," he comments.
This project itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of pursuing your passions.
How would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
