The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This regression is difficult to overlook: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political force looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.
According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from music.
"Individuals with a platform should employ it," he says, referring to 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 hope this phase will pass."
A New Wave of Consciousness
He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would shape a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.
Launching a Creative Venture
He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has not been immune to hardship, including well-documented struggles with mental health and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 determination to fit into a box has propelled him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.
"Institutions sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he comments.
This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of defying expectations.
How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."
He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
