The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art.
"Those in a position of influence should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."
Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including openly discussed periods of mental health and substance use.
He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be typecast has inspired him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.
"Institutions sometimes neglected to promote the right artists because they lacked the traditional credentials," he comments.
This venture itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of defying expectations.
How would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."