The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This change is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
For Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal 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.
"People with a voice should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end."
The Younger Generation's Awareness
He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."
In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including well-documented periods of depression and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has propelled him beyond the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.
"The establishment sometimes neglected to promote the right artists because they lacked the right pedigree," he observes.
The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a proof to the power of defying expectations.
How would the Enninful of that era make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."