Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This change is increasingly evident: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.
In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from politics.
"Individuals with a platform should use it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this moment will fade."
The Younger Generation's Awareness
He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."
Those early experiences would shape a pioneering career built on boldness and inclusivity. Enninful broke barriers 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 diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."
Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including publicly shared battles with depression and addiction.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has propelled him outside the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.
"Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he comments.
The magazine 72 itself operates on a unique business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of pursuing your passions.
What would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, 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 pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."