Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Perceived Regression
This shift is difficult to overlook: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.
In Enninful's view, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.
"Those in a position of influence should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will fade."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."
Those early experiences would shape a trailblazing career characterised by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared 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 brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including openly discussed struggles with mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to be defined narrowly has propelled him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.
"Institutions didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he comments.
The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Currently, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a proof to the power of pursuing your passions.
What would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."