The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This shift is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.
According to Enninful, the response has always been to champion 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, featuring a broad spectrum of prominent faces from art.
"Individuals with a platform should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."
A New Wave of Consciousness
He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."
His formative years would forge a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".
"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 leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."
In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including publicly shared struggles with mental health and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to be typecast has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.
"Galleries often failed to promote the most relevant talents because they lacked the right pedigree," he states.
This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."
A Testament to Resilience
Today, Enninful stands as one of the world's most respected industry leaders. His path, he states, is a testament to the power of following your instincts.
How would the Edward of the 90s think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."