Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
Although Enninful appears wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This change is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, today a different political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.
For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.
"Those in a position of influence should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will pass."
Hope in the Next Generation
He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."
His formative years would define a trailblazing career built on boldness and representation. Enninful made history 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, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has involved hardship, including well-documented battles with mental health and substance use.
He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be defined narrowly has inspired him beyond the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.
"Institutions didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he comments.
The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.
What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then 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 almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."
