The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This shift is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Replacing the hope of the Blair era, now a more divisive political force stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
For Enninful, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature.
"Those in a position of influence should use it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will fade."
Hope in the Next Generation
He takes comfort in the youth of today: "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 marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.
"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".
"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."
Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has not been immune to challenges, including well-documented periods of depression and addiction.
He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be typecast has propelled him away from the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.
"Institutions sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he observes.
This venture itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? 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 industry leaders. His journey, he states, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
