The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This regression is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the hope of the late 90s, today a different political figure stands as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.
"People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."
The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".
"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."
Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of adversity, including well-documented periods of depression and substance use.
He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be typecast has propelled him beyond the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.
"The establishment sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he states.
This project itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of following your instincts.
What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."