Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.
For Enninful, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music.
"Those in a position of influence should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will pass."
Hope in the Next Generation
He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."
The beginnings of his career would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."
Defying the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has not been immune to hardship, including well-documented struggles with mental health and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be defined narrowly has inspired him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.
"Galleries often failed to promote the most relevant talents because they did not have the right pedigree," he comments.
This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Today, Enninful stands as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of following your instincts.
What would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."
