The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This regression is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music.
"Those in a position of influence should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass."
A New Wave of Consciousness
He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."
Those early experiences would define a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."
Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including openly discussed periods of mental health and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be typecast has propelled him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.
"Institutions didn't always promote the right artists because they weren't of the right pedigree," he observes.
The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of pursuing your passions.
What would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."
