The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."
Although Enninful appears sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This change is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a different political force stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
According to Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art.
"People with a voice should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will fade."
A New Wave of Consciousness
He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."
His formative years would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.
"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has established his creative company EE72 and its accompanying magazine, 72, his first major project 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 everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."
In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including openly discussed struggles with mental health and addiction.
He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be defined narrowly has inspired him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.
"The establishment sometimes neglected to promote the truly innovative creators because they did not have the traditional credentials," he states.
The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."
A Testament to Resilience
Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.
What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."