The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This regression is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the previous decade, now a different political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.
According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from art.
"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
The beginnings of his career would forge a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."
Defying the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has involved hardship, including publicly shared periods of mental health and addiction.
He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to fit into a box has inspired him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.
"Galleries sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he states.
The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His story, he states, is a demonstration to the power of following your instincts.
What would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We fled, we fled our country. I almost lost 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 made up my mind to do something."
