Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This shift is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a different political personality stands as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.
According to Enninful, the solution has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from music.
"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."
The Younger Generation's Awareness
He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."
The beginnings of his career would define a groundbreaking career built on 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 time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.
"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including well-documented periods of depression and substance use.
He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has propelled him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.
"Galleries sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he observes.
This venture itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of following your instincts.
How would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."