The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This shift is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from politics.
"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this moment will end."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would shape a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
Launching a Creative Venture
He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".
"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."
In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of challenges, including well-documented periods of mental health and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity 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 refusal to fit into a box has inspired him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the expected background," he comments.
The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of following your instincts.
How would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We fled, we left our homeland. 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."
