The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This regression is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a different political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.
In Enninful's view, the solution has always 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 snapshot of modern Britain, showcasing a wide range of prominent faces from art.
"Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."
A New Wave of Consciousness
He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."
His formative years would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".
"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has included its share of hardship, including openly discussed battles with mental health and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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."
The Tate Britain Exhibition
This determination to fit into a box has led him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"The establishment sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he comments.
The magazine 72 itself functions with a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.
How would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
