Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
While Enninful may seem wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This regression is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, currently a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.
In Enninful's view, the response has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from art.
"Those in a position of influence should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."
His formative years would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."
Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of challenges, including openly discussed periods of mental health and substance use.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be defined narrowly has propelled him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.
"The establishment often failed to shine a light on the right artists because they weren't of the right pedigree," he states.
The magazine 72 itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of pursuing your passions.
What would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."
He adds. "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 whole career. But nothing can stop me once I’ve made up my mind to do something."
