Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political force stands as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.
According to Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.
"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.
Launching a Creative Venture
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."
In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to adversity, including publicly shared battles with depression and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "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 embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This determination to fit into a box has inspired him beyond the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.
"The establishment didn't always promote the right artists because they lacked the right pedigree," he observes.
This project itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of defying expectations.
How would the Edward of the 90s think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He reflects. "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 whole career. But no obstacle is too great once I’ve made up my mind to do something."