Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
For Enninful, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics.
"Those in a position of influence should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here 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 hope this period will fade."
The Younger Generation's Awareness
He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."
The beginnings of his career would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."
Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has involved adversity, including well-documented periods of depression and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s like 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 fashion person."
Curating a Cultural Era
This drive to be typecast has inspired him away from the realm that built his career. He is now organising 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 explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"The establishment sometimes neglected to celebrate the most relevant talents because they did not have the right pedigree," he observes.
This venture itself functions with a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of defying expectations.
How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, 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 reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
