The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised 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 longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This change is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the Blair era, today a different political force stands as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.
For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature.
"People with a voice should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given 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 talk about systemic issues – I had no concept what that was."
His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.
"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."
In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has involved challenges, including publicly shared periods of depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, 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."
The Tate Britain Exhibition
This drive to be typecast has inspired him beyond the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.
"Institutions didn't always celebrate the truly innovative creators because they weren't of the expected background," he comments.
This project itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most influential cultural influencers. His path, he states, is a proof to the power of defying expectations.
What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
