The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."
While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This shift is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has always 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 portrait of modern Britain, including a broad spectrum of influential figures from politics.
"Those in a position of influence should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
Those early experiences would shape a pioneering career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.
Beyond the Magazine World
He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."
In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed struggles with depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to 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 afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has propelled him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.
"Institutions often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.
The magazine 72 itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of pursuing your passions.
What would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
