Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
While Enninful may seem wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.
According to Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature.
"People with a voice should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this phase will end."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Beyond the Magazine World
He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."
In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of hardship, including openly discussed battles with mental health and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 determination to be defined narrowly has led him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.
"Galleries often failed to shine a light on the right artists because they lacked the right pedigree," he observes.
The magazine 72 itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of defying expectations.
What would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
