The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It 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 understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
While Enninful may seem nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This regression is increasingly evident: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, today a different political personality stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.
According to Enninful, the antidote has long been to champion 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 portrait of modern Britain, showcasing a wide range of influential figures from literature.
"Individuals with a platform should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass."
The Younger Generation's Awareness
He draws solace in the younger 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 define a pioneering career characterised by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has involved hardship, including openly discussed struggles with depression and substance use.
He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. 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 restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be typecast has led him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.
"The establishment didn't always celebrate the right artists because they weren't of the expected background," he states.
This project itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most influential industry leaders. His story, he states, is a testament to the power of defying expectations.
How would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
