The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That era was the height 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 knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."
Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.
For Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from literature.
"Those in a position of influence should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will fade."
The Younger Generation's Awareness
He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."
His formative years would forge a groundbreaking career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.
"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including publicly shared battles with depression and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period 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 vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.
"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he observes.
This project itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Now, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions.
How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We fled, we fled our country. 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 set my intention to do something."
