The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, today a different political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark 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.
"Individuals with a platform should wield it," he comments, explaining those publishing choices. "Everyone talks 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 opportunity. That’s the Britain I cherished. I believe this period will end."
The Younger Generation's Awareness
He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."
Those early experiences would shape a groundbreaking career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. 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 subject to police stops the Sus laws … all that gave me a sense of being between worlds."
Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of hardship, including openly discussed battles with mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be defined narrowly has led him away from the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.
"Institutions often failed to promote the right artists because they weren't of the traditional credentials," he comments.
The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.
How would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then 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 left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."