Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
Shifting Attitudes
This change is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, currently a different political force looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from literature.
"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."
Hope in the Next Generation
He draws solace in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
The beginnings of his career would forge a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Beyond the Magazine World
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".
"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, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."
Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including well-documented periods of depression and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be defined narrowly 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 says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.
"Galleries didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he observes.
The magazine 72 itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions.
How would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."
