Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
If Enninful sounds nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Perceived Regression
This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics.
"Those in a position of influence should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful made history 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 leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of challenges, including openly discussed struggles with mental health and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to be typecast has led him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.
"The establishment sometimes neglected to promote the most relevant talents because they lacked the expected background," he observes.
This venture itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he states, is a proof to the power of following your instincts.
How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."
He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."