The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."
While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This change is difficult to overlook: the growth of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a different political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.
In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from politics.
"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."
A New Wave of Consciousness
He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."
Those early experiences would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."
Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to hardship, including publicly shared battles with depression and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to fit into a box has propelled him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.
"The establishment didn't always promote the truly innovative creators because they lacked the expected background," he observes.
This project itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of following your instincts.
What would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."
He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
