Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This regression is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.
According to Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music.
"Those in a position of influence should employ it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."
The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.
Launching a Creative Venture
He has established his new venture 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 "change-maker".
"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."
Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His path has not been immune to challenges, including publicly shared periods of depression and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, 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 refusal to fit into a box has led him outside the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Galleries often failed to shine a light on the right artists because they weren't of the traditional credentials," he observes.
The magazine 72 itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a proof to the power of following your instincts.
What would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."
