The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears sentimental, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the growth of far-right politics, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of 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 Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from music.
"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade."
A New Wave of Consciousness
He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."
Those early experiences would forge a trailblazing career built on fearlessness and inclusivity. 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 diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.
"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."
Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of adversity, including well-documented periods of mental health and substance use.
He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be typecast has propelled him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.
"The establishment didn't always celebrate the most relevant talents because they did not have the expected background," he comments.
This project itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
A Testament to Resilience
Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of following your instincts.
How would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
