The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This regression is hard to ignore: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.
In Enninful's view, the solution has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music.
"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."
A New Wave of Consciousness
He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."
Those early experiences would forge a pioneering career characterised by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.
Launching a Creative Venture
He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."
Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has included its share of adversity, including publicly shared struggles with depression and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has propelled him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.
"The establishment often failed to promote the right artists because they did not have the traditional credentials," he comments.
The magazine 72 itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.
How would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
