The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."
If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has always been to celebrate 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 celebration of modern Britain, showcasing a broad spectrum of influential figures from music.
"People with a voice should wield it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end."
Hope in the Next Generation
He draws solace in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."
The beginnings of his career would forge a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.
"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.
A New Chapter as a 'Disruptor'
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective on the inside and the outside."
Contrary to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including publicly shared battles with depression and addiction.
He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. 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 fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be defined narrowly has led him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.
"Institutions sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he states.
This project itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision."
A Testament to Resilience
Today, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a testament to the power of pursuing your passions.
What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time 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 fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."