The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This regression is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.
According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from literature.
"Individuals with a platform should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will pass."
The Younger Generation's Awareness
He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."
His formative years would shape a trailblazing career built on fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".
"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."
Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His path has involved adversity, including publicly shared battles with depression and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.
"The establishment sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.
This project itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of pursuing your passions.
How would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."