The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This regression is hard to ignore: the growth of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political force looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the solution has always been to celebrate 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, featuring a diverse array of prominent faces from literature.
"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will fade."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."
The beginnings of his career would shape a trailblazing career built on boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.
"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."
Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved challenges, including publicly shared battles with mental health and substance use.
He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be typecast has inspired him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.
"Institutions often failed to promote the right artists because they lacked the right pedigree," he states.
The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."
An Unstoppable Drive
Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of following your instincts.
What would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach."
He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
