The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I believe, we’re less tolerant 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 far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.
According to Enninful, the response has always been to champion 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 celebration of modern Britain, showcasing a wide range of influential figures from politics.
"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this phase will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
The beginnings of his career would define a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.
"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being between worlds."
Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of hardship, including well-documented battles with depression and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, terrified 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 scared to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to fit into a box has inspired him outside the realm that established him. He is now putting together 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 artistic collaboration – and spotlight those who lacked adequate attention at the time.
"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he states.
This project itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Now, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of defying expectations.
What would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
