The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That era 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 felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from music.
"Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."
Hope in the Next Generation
He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales grew.
"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".
"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. 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 … those experiences gave me a unique perspective both an insider and outsider."
Defying the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including well-documented battles with depression and substance use.
He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to fit into a box has propelled him outside the realm that established him. He is now putting together a major 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 capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.
"The establishment often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.
This venture itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Now, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of defying expectations.
What would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
