The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."
While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This shift is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.
For Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from politics.
"Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will end."
Hope in the Next Generation
He takes comfort in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."
Those early experiences would define a groundbreaking career marked by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Beyond the Magazine World
He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of hardship, including well-documented struggles with mental health and substance use.
He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, 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 fashion person."
The Tate Britain Exhibition
This determination to be typecast has propelled him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Institutions often failed to promote the truly innovative creators because they weren't of the expected background," he observes.
The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of following your instincts.
How would the younger Edward make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."
