The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That time was the peak of the Young British Artists – 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 socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."
Although Enninful appears wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This change is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the previous decade, now a different political force stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.
For Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from music.
"Individuals with a platform should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass."
The Younger Generation's Awareness
He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."
His formative years would shape a pioneering career characterised by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.
"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has involved challenges, including publicly shared struggles with depression and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be typecast has propelled him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.
"The establishment often failed to promote the truly innovative creators because they lacked the expected background," he states.
The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a proof to the power of defying expectations.
What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."