Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This shift is increasingly evident: the growth of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political figure stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.
In Enninful's view, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics.
"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."
Hope in the Next Generation
He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would define a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.
"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."
In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including publicly shared periods of mental health and substance use.
He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be typecast has inspired him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.
"Institutions sometimes neglected to promote the most relevant talents because they weren't of the expected background," he comments.
The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a testament to the power of defying expectations.
What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."
He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
