The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political force appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from literature.
"Those in a position of influence should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."
Those early experiences would define a pioneering career characterised by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including publicly shared struggles with depression and substance use.
He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be typecast has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.
"Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he observes.
This venture itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of following your instincts.
How would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
