The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This regression is difficult to overlook: the resurgence of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political force looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.
In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from politics.
"Those in a position of influence should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will pass."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."
The beginnings of his career would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.
Launching a Creative Venture
He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."
In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including well-documented periods of depression and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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."
Curating a Cultural Era
This refusal to fit into a box has led him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"The establishment didn't always shine a light on the most relevant talents because they lacked the right pedigree," he observes.
The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful operates as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of pursuing your passions.
What would the younger Edward make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."