The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This regression is hard to ignore: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, today a more divisive political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from literature.
"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this period will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."
Those early experiences would shape a trailblazing career characterised by boldness and inclusivity. 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 tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has since founded his new venture 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 "disruptor".
"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside."
Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including well-documented battles with depression and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to be defined narrowly has inspired him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.
"Galleries didn't always celebrate the truly innovative creators because they weren't of the expected background," he comments.
This project itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Now, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of pursuing your passions.
How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."