The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Perceived Regression
This shift is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from music.
"Those in a position of influence should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this moment will fade."
A New Wave of Consciousness
He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."
His formative years would forge a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.
"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds."
In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has involved hardship, including publicly shared periods of mental health and substance use.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be defined narrowly has propelled him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he states.
This project itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a testament to the power of defying expectations.
What would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."