The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."
If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, today a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.
In Enninful's view, the response has always been to celebrate 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 portrait of modern Britain, including a wide range of influential figures from politics.
"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this phase will fade."
A New Wave of Consciousness
He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."
Those early experiences would define a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.
"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
Launching a Creative Venture
He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of adversity, including openly discussed struggles with depression and substance use.
He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to fit into a box has inspired him away from the world that made his name. He is now putting together a major 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 explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.
"Institutions sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he observes.
This project itself uses a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations.
How would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
