The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.
According to Enninful, the antidote has consistently been to promote 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 snapshot of modern Britain, featuring a wide range of influential figures from literature.
"People with a voice should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will pass."
A New Wave of Consciousness
He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."
The beginnings of his career would define a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".
"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has involved challenges, including publicly shared periods of mental health and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be typecast has propelled him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.
"The establishment didn't always promote the most relevant talents because they lacked the expected background," he comments.
The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? 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 powerful creative power brokers. His journey, he states, is a proof to the power of following your instincts.
What would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
