Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."
If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This regression is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the late 90s, now a more divisive political force stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the response has always been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music.
"People with a voice should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will fade."
A New Wave of Consciousness
He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."
The beginnings of his career would shape a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.
"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."
Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including openly discussed periods of depression and addiction.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit 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 world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"Galleries often failed to celebrate the right artists because they lacked the right pedigree," he observes.
This project itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of following your instincts.
How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."