The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."
If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
A Perceived Regression
This shift is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.
In Enninful's view, the solution has long been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from politics.
"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this moment will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."
His formative years would define a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."
Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented periods of depression and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has inspired him outside the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.
"The establishment didn't always shine a light on the right artists because they weren't of the traditional credentials," he states.
This project itself operates on a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most respected creative power brokers. His journey, he states, is a testament to the power of pursuing your passions.
What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."
