The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This regression is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.
For Enninful, the response has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.
"Individuals with a platform should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."
The Younger Generation's Awareness
He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."
Those early experiences would define a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales increased.
"Ignoring 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 recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".
"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."
In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved hardship, including well-documented struggles with mental health and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be defined narrowly has led him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.
"Galleries didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.
The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts.
What would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."
He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
