Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
Shifting Attitudes
This shift is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.
In Enninful's view, the response has always been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from art.
"People with a voice should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."
Hope in the Next Generation
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."
Those early experiences would define a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.
"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".
"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has involved adversity, including publicly shared periods of mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. 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 pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.
"Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he states.
The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of defying expectations.
How would the younger Edward react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."