The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This change is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, now a different political personality appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.
According to Enninful, the antidote has always been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics.
"Those in a position of influence should use it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this period will fade."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."
The beginnings of his career would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers 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 historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.
"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."
Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of adversity, including well-documented struggles with depression and substance use.
He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be defined narrowly has inspired him beyond the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"Institutions didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.
The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Now, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a testament to the power of following your instincts.
How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."
