The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
While Enninful may seem wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "I feel, 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 regression is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.
According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from politics.
"Individuals with a platform should use it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."
The Younger Generation's Awareness
He finds hope 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 forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.
"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".
"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."
Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has involved challenges, including publicly shared periods of mental health and addiction.
He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "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 vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be typecast has led him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.
"Institutions didn't always celebrate the right artists because they lacked the expected background," he comments.
This venture itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of pursuing your passions.
What would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."