The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This regression is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, currently a different political personality appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.
In Enninful's view, the response has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from politics.
"Individuals with a platform should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this period will end."
Hope in the Next Generation
He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
The beginnings of his career would forge a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.
"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."
In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved challenges, including openly discussed struggles with mental health and addiction.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period 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 ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining 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 lacked adequate attention at the time.
"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.
The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a demonstration to the power of defying expectations.
What would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
