Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era 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 knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."
Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This regression is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political figure stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.
According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from literature.
"People with a voice should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will pass."
Hope in the Next Generation
He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."
His formative years would shape a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.
"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
Beyond the Magazine World
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including well-documented struggles with depression and addiction.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be defined narrowly has inspired him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.
"Institutions sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he comments.
This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he believes, is a testament to the power of defying expectations.
How would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We fled, we fled our country. 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 made up my mind to do something."
