The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This shift is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.
For Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from politics.
"People with a voice should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."
The beginnings of his career would shape a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.
Launching a Creative Venture
He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."
In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including openly discussed periods of depression and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be defined narrowly has inspired him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.
"The establishment didn't always shine a light on the right artists because they weren't of the traditional credentials," he comments.
This project itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of defying expectations.
How would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
