Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This change is hard to ignore: the rise of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.
In Enninful's view, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from art.
"People with a voice should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will pass."
Hope in the Next Generation
He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."
His formative years would shape a groundbreaking career marked by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.
"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of adversity, including publicly shared periods of mental health and addiction.
He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has propelled him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.
"The establishment didn't always shine a light on the right artists because they weren't of the right pedigree," he comments.
This venture itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful operates as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of following your instincts.
What would the Edward of the 90s think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."
