The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."
Although Enninful appears sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This shift is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, now a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
For Enninful, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from literature.
"Those in a position of influence should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."
Hope in the Next Generation
He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."
The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".
"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including publicly shared battles with depression and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has inspired him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.
"Institutions often failed to promote the truly innovative creators because they did not have the traditional credentials," he comments.
This project itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of defying expectations.
How would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
