Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
If Enninful sounds nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This shift is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.
In Enninful's view, the solution has consistently been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature.
"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will end."
A New Wave of Consciousness
He finds hope in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."
The beginnings of his career would define a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.
"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor".
"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside."
In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of challenges, including publicly shared battles with depression and addiction.
He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be defined narrowly has inspired him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.
"Galleries often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he comments.
The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Now, Enninful is regarded 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 react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."