Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This regression is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the response 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, including a broad spectrum of influential figures from music.
"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position 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 moment will end."
Hope in the Next Generation
He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."
The beginnings of his career would forge a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.
"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."
Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His life has involved hardship, including openly discussed periods of depression and addiction.
He has also endured significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be defined narrowly has inspired him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.
"The establishment didn't always shine a light on the most relevant talents because they lacked the expected background," he comments.
This project itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a testament to the power of defying expectations.
What would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We lost our home, 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 set my intention to do something."
