The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Perceived Regression
This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, now a different political force appears as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.
For Enninful, the response has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from literature.
"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here 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 believed in. I believe this moment will fade."
A New Wave of Consciousness
He takes comfort in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."
Those early experiences would forge a pioneering career built on boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including openly discussed struggles with depression and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has propelled him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he comments.
The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions.
How would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."
He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost 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 set my intention to do something."