The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. 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 mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a significant change. "In my view, we’re less tolerant 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 populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political force appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.
For Enninful, the response has long been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from music.
"Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not 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 phase will end."
A New Wave of Consciousness
He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.
"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".
"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including openly discussed struggles with depression and addiction.
He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be typecast has led him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.
"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he comments.
This project itself functions with a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations.
What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
