Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
If Enninful sounds wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This change is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.
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 celebration of modern Britain, showcasing a wide range of cultural icons from literature.
"Those in a position of influence should employ it," he says, explaining those publishing choices. "There is much discussion 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 cherished. I believe this moment will fade."
The Younger Generation's Awareness
He finds hope in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."
His formative years would shape a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew.
"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."
Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including publicly shared struggles with depression and addiction.
He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be typecast has inspired him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal 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 a spotlight at the time.
"The establishment often failed to shine a light on the right artists because they weren't of the expected background," he comments.
This venture itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of following your instincts.
What would the younger Edward make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."