The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This change is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, 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, featuring a wide range of prominent faces from literature.
"Those in a position of influence should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will fade."
A New Wave of Consciousness
He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."
Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to challenges, including openly discussed struggles with depression and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"Institutions often failed to promote the most relevant talents because they weren't of the expected background," he states.
This venture itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a proof to the power of defying expectations.
What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."
