The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is hard to ignore: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from politics.
"People with a voice should wield it," he asserts, explaining those editorial decisions. "There is much discussion 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 believe this phase will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."
Those early experiences would forge a groundbreaking career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales rose.
"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
Beyond the Magazine World
He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."
Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including publicly shared struggles with depression and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be defined narrowly has propelled him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"The establishment didn't always celebrate the most relevant talents because they did not have the expected background," he comments.
The magazine 72 itself operates on a novel approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of defying expectations.
How would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
