Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."
If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.
In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature.
"People with a voice should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this moment will end."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
His formative years would define a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales grew.
"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."
In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to hardship, including publicly shared battles with depression and substance use.
He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like 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 fashion person."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.
"Galleries didn't always celebrate the most relevant talents because they did not have the expected background," he observes.
The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."
Looking Forward Without Fear
Now, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts.
How would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."