The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."
If Enninful sounds sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the rise of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the late 90s, now a different political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.
For Enninful, the antidote has consistently been to promote 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, showcasing a wide range of cultural icons from art.
"Individuals with a platform should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this period will pass."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."
His formative years would shape a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.
"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".
"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."
Defying the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including publicly shared battles with mental health and substance use.
He has also faced significant health challenges, 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 go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be defined narrowly has led him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.
"The establishment didn't always celebrate the truly innovative creators because they lacked the expected background," he states.
This venture itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of defying expectations.
How would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."