Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer 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, by the age of 18, becoming the style editor of the publication i-D.
"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This shift is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the response has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature.
"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will end."
A New Wave of Consciousness
He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."
Those early experiences would forge a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew.
"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".
"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."
Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has involved challenges, including publicly shared battles with mental health and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."
A Foray into Curation
This refusal to fit into a box has inspired him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing 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 spotlight those who weren't given adequate attention at the time.
"Galleries sometimes neglected to shine a light on the right artists because they lacked the expected background," he comments.
This venture itself functions with a unique business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of following your instincts.
How would the Enninful of that era think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."