Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian arrival 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 fashion director of the iconic i-D.
"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This shift is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the response has always been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from literature.
"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass."
The Younger Generation's Awareness
He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
The beginnings of his career would forge a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."
Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including well-documented battles with depression and addiction.
He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity 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 drive to fit into a box has inspired him outside the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.
"The establishment often failed to shine a light on the most relevant talents because they lacked the right pedigree," he comments.
The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he states, is a testament to the power of defying expectations.
What would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."
