The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This regression is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.
"Those in a position of influence should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will fade."
The Younger Generation's Awareness
He draws solace in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.
"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".
"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has involved adversity, including well-documented periods of mental health and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be defined narrowly has led him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.
"The establishment sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he comments.
This project itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of following your instincts.
What would the younger Edward make of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."