Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director 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 knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."
If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art.
"Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."
Those early experiences would forge a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.
"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".
"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."
Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including well-documented periods of mental health and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, 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 fashion person."
Curating a Cultural Era
This determination to be typecast has inspired him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.
"The establishment sometimes neglected to shine a light on the right artists because they did not have the right pedigree," he observes.
The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a proof to the power of defying expectations.
What would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."
