The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."
Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.
In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature.
"Those in a position of influence should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will fade."
Hope in the Next Generation
He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.
"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."
Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to adversity, including well-documented battles with depression and substance use.
He has also faced significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has propelled him outside the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the expected background," he states.
The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of following your instincts.
How would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."
He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
