The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
If Enninful sounds nostalgic, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This shift is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the Blair era, 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.
For Enninful, the solution has consistently been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from politics.
"Those in a position of influence should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will end."
The Younger Generation's Awareness
He finds hope in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."
His formative years would define a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"When you ignore vast segments 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 recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire 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 president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has included its share of challenges, including openly discussed struggles with depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear 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 vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has inspired him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.
"Institutions didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he states.
This venture itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "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
Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of following your instincts.
What would the younger Edward react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
