The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This shift is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.
In Enninful's view, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from politics.
"Individuals with a platform should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this period will fade."
A New Wave of Consciousness
He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".
"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."
Defying the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including openly discussed periods of mental health and substance use.
He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has led him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"The establishment sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he comments.
The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a testament to the power of defying expectations.
How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
