The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the peak 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 mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This shift is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the response has always been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from art.
"Individuals with a platform should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."
His formative years would shape a pioneering career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including well-documented struggles with mental health and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be defined narrowly has propelled him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.
"The establishment often failed to celebrate the right artists because they did not have the right pedigree," he comments.
The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Now, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of following your instincts.
How would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."
He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
