The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This change is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the response has consistently been to promote 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 snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art.
"People with a voice should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will pass."
Hope in the Next Generation
He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."
His formative years would shape a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales grew.
"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from 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 Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including openly discussed periods of depression and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, fearing 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 is over, 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."
Curating a Cultural Era
This determination to fit into a box has propelled him away from the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.
"Institutions didn't always promote the most relevant talents because they lacked the right pedigree," he comments.
The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."
He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."