The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
If Enninful sounds wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This regression is difficult to overlook: the resurgence of far-right politics, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the Blair era, now a more divisive political personality appears as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.
For Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from politics.
"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will fade."
Hope in the Next Generation
He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."
Those early experiences would shape a pioneering career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Beyond the Magazine World
He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator".
"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."
Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including publicly shared periods of depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to fit into a box has propelled him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.
"Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he states.
The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
