Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This change is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political force stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.
According to Enninful, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from politics.
"Those in a position of influence should wield it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."
The Younger Generation's Awareness
He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."
Those early experiences 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 gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.
"To overlook vast segments of the population, it’s more than 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 key endeavour since departing his former post. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."
Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including well-documented periods of mental health and substance use.
He has also endured significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to be defined narrowly has led him beyond the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.
"Galleries sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he states.
This venture itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.
What would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."
