The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."
If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This shift is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the response has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from music.
"People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."
A New Wave of Consciousness
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."
The beginnings of his career would forge a groundbreaking career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to challenges, including well-documented struggles with depression and addiction.
He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be defined narrowly has propelled him outside the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.
"The establishment often failed to shine a light on the right artists because they did not have the right pedigree," he states.
This project itself functions with a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a proof to the power of defying expectations.
How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
