The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
Although Enninful appears sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "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 Perceived Regression
This change is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has always been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music.
"People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."
The beginnings of his career would shape a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to adversity, including well-documented battles with depression and substance use.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity 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 drive to be typecast has propelled him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.
"Institutions didn't always promote the right artists because they did not have the expected background," he observes.
This venture itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."
A Testament to Resilience
Today, Enninful stands as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of pursuing your passions.
What would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."
