The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."
Although Enninful appears nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This change is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.
For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from music.
"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."
The Younger Generation's Awareness
He takes comfort in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."
Those early experiences would shape a pioneering career built on boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.
"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.
Launching a Creative Venture
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."
Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with mental health and addiction.
He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to fit into a box has led him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.
"The establishment sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he observes.
This venture itself functions with a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.
How would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."