The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This change is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, now a more divisive political personality looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.
For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from politics.
"Those in a position of influence should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will pass."
The Younger Generation's Awareness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.
Launching a Creative Venture
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."
Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to hardship, including openly discussed periods of depression and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to fit into a box has propelled him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.
"Institutions often failed to shine a light on the most relevant talents because they weren't of the expected background," he states.
This project itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most powerful cultural influencers. His path, he states, is a testament to the power of defying expectations.
What would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."
He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
