Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
Although Enninful appears wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This change is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political force looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.
In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from literature.
"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade."
The Younger Generation's Awareness
He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."
The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."
In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including well-documented battles with mental health and addiction.
He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.
"Galleries sometimes neglected to promote the most relevant talents because they weren't of the right pedigree," he states.
This venture itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of pursuing your passions.
How would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
