Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the peak of the YBA movement – 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 kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This change is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.
For Enninful, the solution has consistently been to champion culture in all its variety. 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 broad spectrum of cultural icons from art.
"Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end."
The Younger Generation's Awareness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."
Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His path has involved challenges, including publicly shared periods of depression and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be typecast has led him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.
"Galleries often failed to promote the right artists because they lacked the expected background," he comments.
This project itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Today, Enninful operates as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."
