The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
If Enninful sounds sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political personality stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.
According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from politics.
"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."
The Younger Generation's Awareness
He finds hope in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."
His formative years would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".
"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, 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 achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including openly discussed battles with depression and addiction.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, 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."
Curating a Cultural Era
This determination to be typecast has propelled him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.
"Institutions sometimes neglected to shine a light on the right artists because they weren't of the expected background," he states.
This venture itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of defying expectations.
What would the Edward of the 90s make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."