Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political figure looms as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.
For Enninful, the antidote has always been to champion 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 cultural icons from politics.
"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade."
Hope in the Next Generation
He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."
The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales rose.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".
"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."
In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including openly discussed periods of mental health and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.
"Institutions often failed to promote the right artists because they lacked the expected background," he observes.
This venture itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Currently, 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 pursuing your passions.
How would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We fled, 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 I am unstoppable once I’ve decided to do something."
