The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."
While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This shift is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political force appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.
In Enninful's view, the response has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from art.
"People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass."
Hope in the Next Generation
He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."
Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including well-documented battles with mental health and substance use.
He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to fit into a box has led him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.
"The establishment sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he observes.
This venture itself operates on a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a proof to the power of following your instincts.
What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
