Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered 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.
"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is not the only one. 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 observes. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This change is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.
In Enninful's view, the solution has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from music.
"Those in a position of influence should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."
Those early experiences would forge a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
Launching a Creative Venture
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including well-documented periods of depression and addiction.
He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "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 vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be typecast has propelled him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.
"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.
This project itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Today, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
