The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This change is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from music.
"Individuals with a platform should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."
A New Wave of Consciousness
He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."
His formative years would shape a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.
"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."
In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including publicly shared battles with mental health and substance use.
He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful 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 be defined narrowly has led him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.
"The establishment often failed to shine a light on the truly innovative creators because they did not have the expected background," he comments.
This project itself operates on a novel business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.
How would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like 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 counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."