Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."
If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This change is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, now a more divisive political figure appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from literature.
"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."
A New Wave of Consciousness
He finds hope in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would define a pioneering career built on boldness and inclusivity. 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 diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.
Launching a Creative Venture
He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."
Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented periods of mental health and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to fit into a box has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.
"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he comments.
This venture itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a testament to the power of pursuing your passions.
What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."