The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
A Perceived Regression
This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.
For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from politics.
"People with a voice should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will fade."
Hope in the Next Generation
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."
Those early experiences would shape a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."
Defying the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of challenges, including openly discussed struggles with mental health and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to fit into a box has inspired him beyond the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.
"Institutions often failed to promote the most relevant talents because they did not have the right pedigree," he comments.
This venture itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."
A Testament to Resilience
Today, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of pursuing your passions.
How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."