The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met 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 rolled into Saturday into Sunday. I long for that energy."
Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This shift is increasingly evident: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, now a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.
According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from literature.
"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."
Hope in the Next Generation
He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
His formative years would shape a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."
Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has involved challenges, including openly discussed periods of depression and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 fashion person."
A Foray into Curation
This refusal to be defined narrowly has led him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.
"Institutions sometimes neglected to promote the most relevant talents because they lacked the expected background," he comments.
The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts.
How would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."