Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."
Shifting Attitudes
This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political force looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music.
"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass."
A New Wave of Consciousness
He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."
The beginnings of his career would define a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.
"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".
"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to hardship, including openly discussed periods of mental health and substance use.
He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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 refusal to be defined narrowly has led him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.
"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he comments.
This project itself uses a unique strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of defying expectations.
How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."