Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This shift is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.
According to Enninful, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from politics.
"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will pass."
Hope in the Next Generation
He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."
His formative years would shape a trailblazing career characterised 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 take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.
"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."
Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His life has not been immune to challenges, including well-documented periods of mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar 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 afraid 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 inspired him beyond the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.
"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the traditional credentials," he observes.
This project itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of following your instincts.
What would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
