The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This regression is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, currently a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.
"People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this moment will end."
A New Wave of Consciousness
He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."
The beginnings of his career would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."
In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including publicly shared periods of depression and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be defined narrowly has led him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.
"Galleries sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he comments.
This venture itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful cultural influencers. His story, he states, is a demonstration to the power of defying expectations.
What would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
