The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.
According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from art.
"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "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 refuge and an education. That’s the Britain I cherished. I believe this moment will pass."
The Younger Generation's Awareness
He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would shape a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.
"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."
Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including openly discussed struggles with mental health and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has led him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.
"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.
This project itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of pursuing your passions.
How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing 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."
