Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a more divisive political force appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.
For Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from music.
"Individuals with a platform should employ 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 refused my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."
The Younger Generation's Awareness
He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
His formative years would forge a pioneering career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including publicly shared periods of mental health and addiction.
He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be typecast has led him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.
"Galleries often failed to celebrate the right artists because they did not have the right pedigree," he comments.
This venture itself functions with a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a demonstration to the power of defying expectations.
How would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."