The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This regression is difficult to overlook: the rise of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.
For Enninful, the antidote has always been to champion 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 snapshot of modern Britain, showcasing a wide range of cultural icons from literature.
"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."
His formative years would define a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.
"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."
Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to adversity, including openly discussed periods of mental health and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be defined narrowly has inspired him outside the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.
"Institutions didn't always promote the truly innovative creators because they weren't of the traditional credentials," he states.
This project itself functions with a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Today, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of defying expectations.
How would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly 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 decided to do something."
