The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"It was the zenith 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 kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This regression is hard to ignore: the resurgence of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from literature.
"Those in a position of influence should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass."
The Younger Generation's Awareness
He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."
His formative years would define a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."
In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved hardship, including openly discussed battles with mental health and addiction.
He has also endured serious 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, terrified 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 pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be defined narrowly has led him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.
"Galleries didn't always shine a light on the right artists because they weren't of the right pedigree," he observes.
This venture itself functions with a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? 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 powerful creative power brokers. His journey, he states, is a proof to the power of following your instincts.
How would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
