Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"It was the peak of the Britart scene – 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 kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This shift is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political force appears as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has long been to promote 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 celebration of modern Britain, including a diverse array of cultural icons from literature.
"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."
The Younger Generation's Awareness
He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would forge a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."
Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has involved hardship, including publicly shared periods of mental health and addiction.
He has also undergone significant 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, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 determination to be typecast has led him away from the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.
"Institutions didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he comments.
This venture itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of following your instincts.
How would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."
