Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This regression is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the return of narrow beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.
According to Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from literature.
"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."
The Younger Generation's Awareness
He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would define a pioneering career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."
Defying the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to adversity, including well-documented periods of mental health and addiction.
He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to be defined narrowly has propelled him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential 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 did not receive due recognition at the time.
"Institutions often failed to promote the right artists because they weren't of the right pedigree," he comments.
This venture itself uses a novel approach, 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."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of defying expectations.
How would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He pauses. "I never take anything for granted. 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 set my intention to do something."
