Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives 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 everywhere."
A Perceived Regression
This change is difficult to overlook: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, today a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.
For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics.
"People with a voice should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will pass."
The Younger Generation's Awareness
He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."
His formative years would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."
Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including publicly shared struggles with mental health and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 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 figure in fashion."
Curating a Cultural Era
This drive to fit into a box has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"Institutions often failed to promote the truly innovative creators because they weren't of the expected background," he states.
The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.
How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
