Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This shift is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political force appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.
For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature.
"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this moment will end."
Hope in the Next Generation
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."
The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, 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, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".
"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – 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 never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His path has not been immune to hardship, including well-documented battles with mental health and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared 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 fit into a box has inspired him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.
"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.
The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of following your instincts.
What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."