The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This shift is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.
According to Enninful, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.
"Those in a position of influence should use it," he says, 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 home and an education. That’s the Britain I cherished. I hope this moment will pass."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."
The beginnings of his career would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including publicly shared struggles with depression and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has propelled him beyond the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.
"Galleries often failed to promote the most relevant talents because they weren't of the traditional credentials," he states.
This venture itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
