Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Perceived Regression
This regression is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the return of narrow beauty standards. In place of the hope of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.
For Enninful, the response has always been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from music.
"People with a voice should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."
His formative years would shape a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales rose.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".
"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."
Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of challenges, including openly discussed battles with mental health and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, anxious 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 do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be defined narrowly has led him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.
"Galleries sometimes neglected to promote the right artists because they weren't of the traditional credentials," he comments.
The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a demonstration to the power of following your instincts.
What would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."