The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Perceived Regression
This shift is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the late 90s, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
For Enninful, the solution has consistently been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from politics.
"People with a voice should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this period will pass."
The Younger Generation's Awareness
He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."
The beginnings of his career would forge a pioneering career marked by fearlessness and diversity. Enninful made history 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 diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales rose.
"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".
"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including openly discussed periods of mental health and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, fearing 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 passes, 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."
The Tate Britain Exhibition
This determination to fit into a box has led him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"The establishment often failed to celebrate the truly innovative creators because they lacked the right pedigree," he observes.
This venture itself functions with a different approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of defying expectations.
How would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
