The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from politics.
"Individuals with a platform should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this period will end."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would define a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving 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 physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."
Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including openly discussed battles with mental health and substance use.
He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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 limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has propelled him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.
"Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.
The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Currently, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of defying expectations.
How would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
