The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is hard to ignore: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of national pride, has sparked debate once more.
For Enninful, the antidote has long been to champion 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 celebration of modern Britain, showcasing a wide range of cultural icons from literature.
"Those in a position of influence should wield it," he says, discussing those editorial decisions. "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 opportunity. That’s the Britain I cherished. I believe this phase will pass."
Hope in the Next Generation
He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."
His formative years would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
Beyond the Magazine World
He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented periods of mental health and substance use.
He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear 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 thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be defined narrowly has led him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time.
"Galleries didn't always promote the most relevant talents because they did not have the traditional credentials," he observes.
The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of following your instincts.
What would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."