The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
Shifting Attitudes
This regression is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political personality looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.
According to Enninful, the response has always been to celebrate 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, featuring a diverse array of prominent faces from literature.
"People with a voice should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this moment will end."
The Younger Generation's Awareness
He takes comfort in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.
"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."
Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved adversity, including publicly shared periods of depression and substance use.
He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to fit into a box has inspired him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.
"Galleries sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he states.
This venture itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of following your instincts.
What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
