Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Perceived Regression
This change is increasingly evident: the growth of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political force stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.
In Enninful's view, the solution has long been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from art.
"People with a voice should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will end."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."
The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.
"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
Launching a Creative Venture
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including publicly shared struggles with mental health and substance use.
He has also faced serious 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, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be defined narrowly has inspired him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.
"Galleries often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he comments.
This project itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of defying expectations.
How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think 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 there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
