The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. 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."
While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Perceived Regression
This regression is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political figure looms as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.
In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.
"People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."
Hope in the Next Generation
He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."
Those early experiences would forge a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.
"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.
Launching a Creative Venture
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."
In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has involved challenges, including well-documented periods of depression and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be typecast has propelled him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.
"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he observes.
This venture itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
