Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
While Enninful may seem nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the rise of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political force stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.
For Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.
"People with a voice should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."
The Younger Generation's Awareness
He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."
Those early experiences would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.
"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."
Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has involved hardship, including openly discussed battles with mental health and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be typecast has propelled him beyond the world that made his name. He is now putting together a major 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 artistic collaboration – and spotlight those who lacked due recognition at the time.
"Galleries didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he states.
This project itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of following your instincts.
How would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
