The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This regression is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.
In Enninful's view, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.
"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "Everyone talks 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 cherished. I hope this moment will pass."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."
His formative years would define a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."
Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including well-documented struggles with mental health and addiction.
He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to fit into a box has led him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.
"Galleries often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he states.
The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."
Looking Forward Without Fear
Now, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.
How would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."