The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."
Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Perceived Regression
This change is difficult to overlook: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has long been to celebrate 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 celebration of modern Britain, showcasing a wide range of prominent faces from music.
"People with a voice should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will pass."
The Younger Generation's Awareness
He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."
His formative years would shape a pioneering career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship 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.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including well-documented battles with mental health and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be defined narrowly has propelled him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.
"Institutions often failed to celebrate the right artists because they weren't of the traditional credentials," he observes.
This project itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.
What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
