The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. In place of the hope of the late 90s, currently a different political personality looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.
For Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from art.
"Those in a position of influence should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."
The Younger Generation's Awareness
He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."
Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.
"Ignoring huge sections 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 established his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".
"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."
In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His life has involved challenges, including publicly shared battles with mental health and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has propelled him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.
"The establishment didn't always promote the truly innovative creators because they did not have the expected background," he observes.
The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of defying expectations.
What would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
