The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "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 yearn for that energy."
Although Enninful appears sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Perceived Regression
This shift is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the previous decade, today a different political force looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from politics.
"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade."
The Younger Generation's Awareness
He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a groundbreaking career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."
Contrary to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including well-documented periods of mental health and addiction.
He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to fit into a box has inspired him outside the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he states.
The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Currently, Enninful operates as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of pursuing your passions.
What would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."
He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
