The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem sentimental, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This shift is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.
In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from music.
"People with a voice should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will end."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.
"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".
"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."
Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His path has involved challenges, including well-documented battles with depression and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to fit into a box has led him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"The establishment didn't always shine a light on the right artists because they weren't of the expected background," he comments.
This venture itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.
What would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
