Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, 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 recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This regression is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has always been to celebrate 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 portrait of modern Britain, featuring a wide range of prominent faces from literature.
"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this period will end."
A New Wave of Consciousness
He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."
Those early experiences would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."
Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved challenges, including publicly shared periods of depression and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be typecast has propelled him away from the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.
"Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he observes.
This venture itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Now, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of pursuing your passions.
How would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
