The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This regression is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
For Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from art.
"Individuals with a platform should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this period will end."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."
His formative years would define a pioneering career marked by fearlessness and inclusivity. Enninful made history 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 historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.
"To overlook large portions 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 since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".
"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."
Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to adversity, including well-documented periods of depression and substance use.
He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to be typecast has led him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.
"Galleries didn't always celebrate the most relevant talents because they lacked the expected background," he states.
The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a demonstration to the power of defying expectations.
How would the Edward of the 90s make of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."