The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the peak of the Britart scene – 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 kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the rise of populist movements, the pushback against progressive values, and the return of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political force looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.
According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music.
"Individuals with a platform should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here 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 cherished. I trust this period will end."
A New Wave of Consciousness
He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."
The beginnings of his career would define a pioneering career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside."
Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has not been immune to challenges, including openly discussed struggles with depression and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to fit into a box has inspired him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.
"Institutions often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he observes.
The magazine 72 itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
