Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This regression is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the antidote has consistently been to champion 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 portrait of modern Britain, featuring a broad spectrum of prominent faces from art.
"Individuals with a platform should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will fade."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."
The beginnings of his career would shape a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".
"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including publicly shared struggles with mental health and substance use.
He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to fit into a box has inspired him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.
"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he states.
The magazine 72 itself operates on a novel 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 larger creative platform."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.
What would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."