The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This shift is increasingly evident: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.
For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from art.
"People with a voice should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."
A New Wave of Consciousness
He draws solace in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."
Those early experiences would shape a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of hardship, including openly discussed struggles with mental health and addiction.
He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious 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 afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be typecast has propelled him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.
"The establishment sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he comments.
The magazine 72 itself functions with a unique business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."