Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political personality appears as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.
According to Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.
"Those in a position of influence should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this period will end."
The Younger Generation's Awareness
He draws solace in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."
His formative years would shape a pioneering career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed periods of mental health and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced 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 prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be typecast has led him outside the realm that established him. He is now curating 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 explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.
"The establishment didn't always shine a light on the most relevant talents because they lacked the right pedigree," he states.
This project itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of defying expectations.
What would the Edward of the 90s make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."
He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
