The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered 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 rolled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This regression is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, now a different political personality stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
For Enninful, the antidote has consistently been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature.
"People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."
The beginnings of his career would shape a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has established his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."
In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has involved hardship, including well-documented periods of mental health and addiction.
He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to fit into a box has propelled him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.
"Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he observes.
This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of following your instincts.
What would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."
He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
