The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. 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 yearn for that energy."
While Enninful may seem wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This regression is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the response has long been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from literature.
"Those in a position of influence should wield it," he asserts, referring to 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 refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."
The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.
"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside."
Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has involved adversity, including publicly shared periods of depression and substance use.
He has also undergone serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be typecast has led him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"The establishment didn't always promote the right artists because they lacked the right pedigree," he comments.
The magazine 72 itself functions with a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.
What would the younger Edward think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
