Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This regression is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a different political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.
In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature.
"Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would forge a pioneering career characterised by fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Beyond the Magazine World
He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".
"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."
Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has included its share of hardship, including well-documented struggles with depression and addiction.
He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to fit into a box has inspired him beyond the industry that built his career. 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 says, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.
"Institutions sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.
This venture itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a demonstration to the power of defying expectations.
How would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."