Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is difficult to overlook: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the Blair era, today a more divisive political force appears as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.
According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from music.
"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. 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 analyse systemic issues – I had no concept what that was."
His formative years would shape a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.
"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His life has included its share of challenges, including well-documented struggles with depression and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be typecast has led him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.
"The establishment didn't always celebrate the most relevant talents because they did not have the traditional credentials," he observes.
This project itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most influential cultural influencers. His path, he states, is a testament to the power of following your instincts.
How would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."
