The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "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 yearn for that energy."
While Enninful may seem sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This change is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.
In Enninful's view, the solution has consistently been to celebrate 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 portrait of modern Britain, featuring a diverse array of influential figures from art.
"People with a voice should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this moment 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 unconscious bias – I was not even aware what that was."
Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.
"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."
In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of challenges, including openly discussed periods of mental health and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place 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 thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to be defined narrowly has inspired him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.
"Institutions didn't always celebrate the most relevant talents because they did not have the right pedigree," he comments.
The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.
How would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "Gratitude is key. We fled, we fled our country. 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."
