Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."
While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This change is difficult to overlook: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from literature.
"People with a voice should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will end."
A New Wave of Consciousness
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
His formative years would forge a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."
Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including publicly shared periods of mental health and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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 be typecast has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.
"Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he states.
This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a proof to the power of pursuing your passions.
What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We fled, 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 nothing can stop me once I’ve set my intention to do something."
