Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."
While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This change is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, today a more divisive political force looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
For Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature.
"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "People often debate 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 hope this phase will fade."
The Younger Generation's Awareness
He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."
Those early experiences would shape a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.
Launching a Creative Venture
He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".
"My nature is to challenge the status quo. 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 painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including openly discussed struggles with mental health and substance use.
He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like 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 restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be typecast has led him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"The establishment didn't always shine a light on the right artists because they did not have the right pedigree," he observes.
The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."
He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly 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 decided to do something."
