Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is hard to ignore: the rise of populist movements, the backlash against progressive values, and the return of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.
According to Enninful, the antidote has consistently been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from literature.
"People with a voice should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."
The beginnings of his career would shape a groundbreaking career marked by boldness and inclusivity. 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 tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.
"Ignoring huge sections of the population, it’s more than 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 flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."
Contrary to the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to adversity, including publicly shared periods of mental health and addiction.
He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, 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."
A Foray into Curation
This drive to be defined narrowly has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.
"The establishment often failed to promote the truly innovative creators because they did not have the traditional credentials," he observes.
The magazine 72 itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of following your instincts.
How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We fled, we fled our country. I almost 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."